The Globe is golden

Dem nuh nice like we
Dem nuh sweet like we
Nice arready
Mi seh wi nice arready
Trash an Ready, Super Cat

There’s a scene in Lord of the Rings: The Two Towers when the battle for Helms Deep is on and Legolas the Elf gets on a shield and surfs down some stairs to go and save his pardner Gimli the dwarf. I was in a cinema in London watching this with a Trini friend. And our immediate gut response was to bawl out ‘Ooooh goooooud.’
The viewers in the audience didn’t share our enthusiasm and turned around in the dim light to give us withering looks of English disapproval. You see, the Pit in us came out. But I mean to say, why else would Peter Jackson put a scene like that in the film, if not to get viewers to tankalanks at the screen?
Later, after the film was finished, we wistfully imagined what it would have been like to watch it in Trinidad. In a cinema like Globe. So when I got the news that Globe is up for sale, part of me mourned for the part of my heart that will always be a Globe fan. It’s funny how cinema culture although we’ve had such a long history of interaction with this, that it’s only recently that our own film-makers have begun to dare to put us inside the big screen.
But I wonder if that is because the way we watch films puts us in the action. We react as if we ourselves are in the scene. Active observers. It is the call-and-response nature of who we are.
The characters speak to us. And if they don’t we register our disgust. Curse them with the same emotion as we would curse our own neighbours and children and lovers. The film, instead of just being some lifeless imported thing that comes to us for our passive enjoyment, becomes a larger-than-life representation of our own fantasies, disappointments, longings.
Part of the willing suspension of disbelief for us is that we have to be ourselves in the moment. It’s a chance for some us, too, to un-star the star. For the block joker to have a moment of popularity shouting ridiculous things at the screen for the entertainment of the entire theatre. For the badjohn to declare he could shoot gun better than that. The village Ram to give a professional analysis of the star boy’s sexual prowess.
Give me Globe any day over that other place where the mangrove used to be. Look, it’s part of who I am. I can’t stand a quiet cinema. I want to hear people commenting on the film. I want to get a sense of involvement in the moment. I want to buss a loud steups. I want to shout out ‘tata’ or other profane protestations at the end of the film. Even if the people in Hollywood can’t hear me, I want to register my joy or disgust. Some films are extra enjoyable if you go and see them in Globe.
So they want to sell the place. I don’t have two cents to rub together or else I would have bought it myself. To have Amitabh Bachchan nights and Bruce Lee nights. In my anti-capitalist naivete, I can stand on the sidelines and say it’s a crying shame without having any clue whatsoever about the costs involved in keeping such a building and business going.
It’s another piece of our history that may disappear from our landscape because we lack the interest in preserving things of value. If a cinema is a thing of value. And the name Gokool Meah will slip into the great void of memory that is called Trinidad’s past. I guess it’s easy to get caught up in the whole bring-back-the-old-time-days argument. But it’s more than that.
What if, for another generation of Trinibagonians, the Globe could be a place where young film-makers can see their work come to life on the big screen? And the film reviews would come from Pit. True and visceral and immediate. The film-maker calls and we respond. And the film-maker knows if to keep singing or change her tune.
Back in the days of westerns, steelbands named themselves after their on-screen heroes. Imagine if future steelbands or steelband apps or whatever were named for characters in films made in T&T. Where the willing suspension of disbelief would cease to say that we were not deserving of being inside the big screen. We could be inside and outside too. Shouting our own selves on. Believing in our own magic.
A saga boy starboy, a soucouyant romance trilogy, a tale of forbidden love where star-crossed lovers run and giggle through the verdant Caroni plains. I would pay good money to go and see that and make plenty noise for heroes and sheroes who look, sound, act and feel like me.

First published in Trinidad Guardian March 23, 2013

Nothing fantastic after Carnival

If it’s special
Then with it why aren’t we as careful
As making sure we dress in style
Posing pictures with a smile
Keeping danger from a child

If it’s magic
Why can’t we make it everlasting
Like the lifetime of the sun
It will leave no heart undone
For there’s enough for everyone

If it’s Magic, Stevie Wonder

 

Went for a walk in the city at dawn Ash Wednesday morning. Hopscotching over rubbish piles and discarded wings. Splattered blue paint on the roads. It looks as though the city has been hit by an attack of naughty pixies. The bloodshed is glitter, the casualties bruised and smiling at the encounter. In the early morning light the truth of your Carnival tabanca takes hold.

You see your reflection in the stagnant pools of water blocked from a free passage to the drains by bits of costume. Your old face is there. Not the new one you got on J’Ouvert morning. Post-Carnival you look like the person you remember, although the glow of Carnival catharsis has you feeling sweet.

You are still tired. The ache of Carnival exuberance has not left your body. But if you had to do it all over again tomorrow, you would. You would jump on your bad knee the same way. You would spread your hands and let go of all the hurt you feel about Trinidad. All the vexation at how abjectly dotish certain things and people can make this place.

Which is worse? The Carnival tabanca or the Trinidad tabanca? The heartache that fills you up when you think that Carnival is something to be swept away for another year. Carnival has left you like a lover in the middle of the night. And when you turn at dawn in search for the reassuring warmth of another body, all you find is the crisp coldness of linen.

And you have to depend on your own warmth. Wrap yourself around yourself. Into a tight little ball of self-sufficiency. There is no cure for the loneliness and emptiness that comes after. Leaves you wandering on the streets in the early hours of the morning for some evidence of what happened the night before.

The debris is the only proof that Carnival is not an elaborate fantasy of your own making. In the silence you can hear the ghost of big trucks. In the distance the Savannah shimmers, self-conscious in the haze of a new morning.

But the rumbling of Phase II is still in your ears. And the weight of the flag you carried on the stage still strains the muscles in your upper arm. You know the precise moment when you did that thing to your knee that created this occasional lancing pain that temporarily renders you incapable of putting pressure on your right leg.

Pan disappears again. Aside for the token moments it is trotted out. Panyards that could be the cradle of community development lie fallow or under-utilised. From Ash Wednesday I start counting the hours, months, days it will take to recover from Carnival before I start preparing for the next.

Carnival is successful for those who understand how to package things and make money. Carnival is special for those who create their best work whether or not they get paid.

When Carnival is over where does all of that creativity go? In the hours and months and days between Carnivals who bothers to teach Trinbagonian children about the geometry of making a fancy sailor hat? Or the physics of creating king and queen costumes that can structurally withstand the breeze in the Savannah? Or the obeah of keeping dancing while you try to untie your rolled up flag?

Carnival, aside from being a time of bacchanal and excess, could also be a time for us to explore a less one-dimensional approach to our culture. But of course this is not art and our Carnival artists are not scientists. Cars whizz past the point where mere hours ago the crowds made music with their chipping feet.

I miss that Carnival time. That point when you see your friend and start screaming for no other reason than your euphoria at this moment of Carnival perfection. The problem is that my Carnival tabanca is my Trinidad tabanca. Unfulfilled potential, lacking in vision, beautiful but flawed.

Carnival is everything we could be but can’t be bothered to go through the effort of attempting. This eerie, post-apocalyptic kind of quiet is jarring. Just as jarring as hearing Fantastic Friday now. In the aftermath of the Carnival. When you struggle to find anything fantastic.

First published in the Trinidad Guardian February 16, 2013

Singing Super’s Blues

There will be no other super man in town
I an I coming alone to sing I song
Using methods beyond the human knowledge
They will say for sure this is advantage
Because when the music start flowing
I’ll be dancing and singing
Creating pure happiness
Like a torpedo mama
I working under water
But is trouble when I surface
Superman, Super Blue

 Why it is you shaking, you don’t know. Well, you kind of know. You kind of know why you are here in this moment screaming and drenched in sweat, getting on like is your first time in a fete and you never knew it could be this sweet. You kind of know that this is where you are supposed to be. The drums matching your heartbeat, the bass making you do things with your boomsie that defy explanation.

 In 3 Canal’s Back Yard Jam under a mango tree we are in the Royal Temple of Soca and the High Priest is presiding. The High Priest is back from the wilderness. Thirteen years of wandering. Thirteen years that we missed him and forgot about him and remembered him in moments when Despers would play their mindblowing version of Rebecca.

 In the Backyard Jam, this Temple of Soca, everyone here is initiated into the mysteries of mas and the music of this place that could make you jump out of yourself and become part of a living, breathing wave. Look, it’s not like I thought before that moment that the Fantastic Friday song was his best. I have childhood memories haunted by his voice. He tiefed my head—a black Super Man—larger than life and more real than the on-screen flying man. Super Blue soared in my musical soul.

 With that kind of grounding, with that kind of brilliance, it is hard to deal with auto-tune and techno-ish beats. But then you realise that these are trappings. And at the root is the voice. At the root is the same Super.

 There are young people and old people and in between people like me there. I take myself from the sidelines and end up in the middle of a soca mosh pit. I lose a shoe and a hat and at some point my dress is way above its anticipated hemline. None of these things matter in the moment of contact. Some portal is opening.

 This Blue so super he could ward off maljo. He could take us all with him to a place of our collective imaginings. You are elated by the way your spirit soars. You missed the blues he is singing. The wailing in his voice. Like he is calling for something that is buried deep deep down and dragging it out of you. It is the sweetest pain.

 It is a triumphant return. After we whispered and laughed aloud at his wandering. We scream with joy at his return. Expect him to solve all our soca problems. We get carried away by the music. We get carried to the place from which we are unsure of the return.

 In the midst of the madness, I watch him good. His eyes closed. His brow furrowed. He is travelling and we are following. He is taking us on a painful journey with him. Some of us don’t notice. Some of us are too distracted by the sweetness of the music to hear the pain.

 The next day, after I have regained my composure I head back to Woodbrook. In another backyard, are a few hundred Orisha devotees dressed in white singing praises to Obatala. The same reaching for the sky. The same drums grounding you and singing making your spirit levitate. This is the original temple of soca. Some get carried away. Some find the spirit in the dance and the spirit dances in them, weightless, beautiful, magical.

 The sun fades and the white clothes glisten in the twilight. I stamp the ground in the rhythm of the drum, re-rooting myself. Reconnecting to the heartbeat, to the things that make me Trinbagonian. The music. The desire to transcend this space we occupy.

 Yes this is magic. But I am still thinking of Super Blue. The sweet sadness: I just came to say I love you. Only love can create music like that. Not competitions. Not prize money. Not the soca mafia. Love. The love power takes you. To a place that you are not entirely unfamiliar with. The liminal point between ecstasy and madness. Between the darkness and the dawn.

 In backyards. Away from the cameras. Away from the politicians. Away from the brand management and the under-nourished winer girls in beads and feathers. There is salvation in soca. There is healing in wining. There is catharsis in putting your hands over your head. I am thankful for the reminder.

 

 

Published in the Trinidad Guardian on January 19, 2013

Kambule or Canboulay?

The received wisdom was that the term Canboulay derived from the French ‘cannes brulees’ or the burning of the cane. The unseasonal burning of fields of immature sugarcane by the enslaved was done as an act of sabotage and groups of enslaved Africans were then forced to go and put out the fires. Along the way they sang songs of defiance and also danced kalenda as their ranks were made up of stickfighters.
However revered Trinidad and Tobago linguist Maureen Warner-Lewis in her seminal work Guinea’s Other Suns – one of the first comprehensive studies on the African presence in Trinidad and Tobago – lists the term kambule as a Kikongo word meaning procession. Africans held kambules throughout the year – as a form of celebration but they were also times when they could re-engage with spiritual and other cultural practices.
Professor Warner-Lewis believes the two terms to have been conflated to create one meaning – the march of defiance by the working class that happened in the pre-dawn hours of Carnival Monday morning.

Dancing for Dawn

There I go again, talking about the only thing I love more than starch mangoes…

The glorious morning has come, and I don’t know if to laugh or cry. Because I’ll have to wait another 364 days to feel this way again. J’Ouvert is what happens when someone opens the prison gates. J’Ouvert is the moment of truth in lives of endless fiction.

Check out the full piece in this month’s issue of Caribbean Beat Magazine.

The Vitriol of Trolls

Can anybody tell mih
What going to happen
What going to happen
What going to happen
When the music stop?
Nobody knows
Nobody knows

Wham Bam, David Rudder

The kind of bad mind required to walk past and slash paintings is not an uncommon state for Trinbagonians. It is the casual stroll to your car to retrieve a cutlass to planass an old man buying doubles. It is the vitriol of trolls who can think of no better way to spend their days than posting insults on the internet. It is the bad drivers who cut you off for no reason on the streets and curse your mother if you put the Gods out of your thoughts to complain.

That everyday Trinbagonian brutality that we don’t think is part of our national personality, us being such a laid-back fun-loving bunch. It’s the glib acceptance of barbarism that breeds that kind of contempt for self. But it’s no different to the Government bypassing the calls of artists for the past 40 years to put certain things in place and instead aiming to create a super company designed to maximise profits instead of maximising artistic expression.

I can’t say that I ever understood the replication of artwork in plastic and sticking it on walls. I mean, why not pay the artists to create new works in public places? Why not invest in reconfiguring how we see our art? Why not put artists in classrooms so that there is a consciousness of art built into our children?

I guess it is much more visible and immediately rewarding to the ego to put up these public displays. And it would be easy for those of us who are lovers of art to stand back and shake our heads and say that we are a nation of Philistines. Poor us.

It’s far deeper than that. It has to do with that never-ending conversation about what is legitimate art and who are the legitimate artists. Like everything else in this country, it comes down to who has access. Who takes ownership of these terms and what has a right to go up on which walls. And if all art is what goes on walls. And if you are a wire bender do you still count as an artist.

It’s as deep as the fact that we have no national steelpan theatre. Although steelpan yards across this country are important incubators of musical talent. Although we like to boast about steelpan, there really is no national focus or plan for its development and inclusion in the lives of our children so that they actually take ownership of it.

It’s as deep as those who say that we are more than Carnival and wining and pan. It’s as deep as realising we are so much more than those things but we still haven’t found a way to acknowledge their significance to us, outside of corporate entities forcing us to prostitute our arts for title sponsorship. For a few girls in the dance in shiny shorts and imported feathers giving out alcoholic shots.

This is our culture. Denial of who we are. Non-validation of indigenous knowledge and creativity. This is why we must slash anything that doesn’t fit that template. This is why it is a Carnival of brands and logos rather than a Carnival of expression and freedom.
In the face of dying arts and artists.

In the face of an under-articulated arts-based curriculum and the elevation of the fluffiest manifestations of our true selves and full representations of who we are. In the face of all this, we slash paintings and it’s no big thing when you think that some of us are slashing each other. Some of us are casually cutting our brothers and sisters and women down. Like paintings on the Oval wall. Pixelated replicas of our more true beautiful selves.

It is the same slashing motion that cuts us to the core of who we are. Looking shiny and nice on the Oval wall. Until someone passes by and reveals the concrete underneath. The lack of depth and the lack of feeling. We have no insides to fall out. We are hollow and forgetful. And we get not-so-subtle clues everyday that everything isn’t okay. We get not-so-subtle clues everyday, not just from high up. That there is a callous lack of interest in humanity taking over. Or maybe it never left.

Maybe we were always this barbaric. Maybe we were always this petty and uncomfortable with anything too beautiful. We have permission to mash up the place. To slash the parts of ourselves that don’t seem relevant. We will play another mas of great beauty. Until it is time to go back to being our regular selves again. Bare walls and empty souls. The owners of beauty and those who brand us with their marks of money keeping us wanting until the next time.

Published in Trinidad Guardian – December 29, 2012

A Heart-Centred Apocalypse

The sun is going down
And I try to follow
Blood is spilled in the sky
As we watch the day die
Making room for tomorrow

Me and my friends
Riding to the world’s end
I don’t know if or when
I’m ever going to see you again
World’s End,
Kin Sound System

Not that I ever thought that I was going to wake up to the Rapture. But I’m kind of glad that the doomsdayers got a giant apocalyptic meggie. We all breathe sighs of relief that the Mayans were wrong. And not that the ones who got it wrong were the anthropologists who tried to piece together meaning in the aftermath of the destruction of a civilisation by the barbarism of colonisation disguised as the saving of pagan souls.

In the aftermath of the non-coming of the apocalypse is another opportunity for us to pour scorn on the ideas of indigenous peoples. Of first nations whose world views we have decimated as much as we have the people. And plundered one or two tidbits relevant to our lives and left aside the rest. We are suspicious of all that old-world obeah. We are terrified of anything that doesn’t have its own themed half hour on CNN.

These days we only trust the obeah that is mainstream and sanctioned by the legitimate western authorities. The obeah that is television. And the Internet. These sorts of western obeahs are okay. We are suspicious of our own. The way that it messes with your mind and makes you alien to your own intuition. And let other people use it for their own advantage.

Like legal and illegal quarries plundering mountains in the Northern Range, because we forget those hills were once sacred to people who were here long before we ever dreamed of a place to call Trinidad. The obeah of development and modernity is a serious thing. And our gods look nothing like us and we worship them anyway.

Whether or not the world ends, I guess, is a moot point. The point is, we don’t need a misinterpreted Mayan prophecy to tell us that we urgently need cataclysmic change on this planet. We need to rethink our evolution in the most urgent of ways. We need to bring to an end a lot of the things that make the quality of life for the majority of the world’s inhabitants unacceptable because of the greed of a few.

We need to reconsider our complicity in the destruction of the planet in the quest for advancement that leads to nowhere. Hollywood has programmed us for a spectacular ending of explosions and Bruce Willis and his band of intrepid soldiers who will save the Earth, or rather America, from certain destruction.

We’re not looking for the explosions in our brains. We’re unaware of the changes in the animals and plants. It’s not our business to end time. We’ve put a limited perspective on what it means and have no understanding of its extent. It’s our business, however, to engage fully in all the suns and moons we spend in this present consciousness ensuring that we experience ourselves and our communities.

We owe it to no one but ourselves to be the best humans we could possibly be. The apocalypse has to be one of destruction of the walls that we have built between us. The end has to come in the form of lasting solutions to poverty and domestic violence and… I see you rolling your eyes at my hippy gibberish. I see you shrugging your shoulders with the resignation of those who think they are powerless.

But this is end times for being frightened to speak our truths for fear of ridicule. Maybe apocalypse myths are just ancient ways of getting us to live every moment we have on Earth to the fullest. To be true to our higher selves, to seek beauty. We look back at the Mayans as illiterate savages. But we are the ones who read without understanding. Who have access to information and fail to act.

We are the ones who weep real tears for children who die in a mass killing in America. And post pictures of a president who cries for his own and sends drones to kill the children of others. We are the real savages who have accepted a civilisation that celebrates its barbarity. That destroys the earth and then blames god for natural disasters.

There needs to be an end to these times. Desperately. There needs to be an end to the blindness to inner light. No one is going to land from another planet and save us. A heart-centred apocalypse that kills fear with love. We need to save our own selves from ourselves and create new calendars for a time that uplifts the whole of humanity.

Published in Trinidad Guardian December 22, 2012

Case of the Man called Boy

I done tell mih friends and mih family
Not to worry
Anyone of them interfere with me
It eh easy
Don’t worry to beg the jury
Save the lawyer fee
And if yuh have any mail
Send it to me in the Royal Gaol
Royal Gaol, Mighty Sparrow

It’s the most serious question of the year. More serious than Section 34. More serious than the highway. More serious than whether we are going to hell in a handbasket called corruption. The question is: are they going to send the man called Boy to jail?

The first surprise is that he was found guilty in the first place. That was about as shocking as the fact that Ish and Steve escaped extradition.

Town say, it good for him. They start to wonder who the Golden Grove Soca Monarch will be. If you do the crime and you guilty, you have every right to do the time. All of these law-abiding citizens who have the moral rectitude to cast the first stone. Who never drive drunk and never pay for sex and never smoked a spliff and never got in a fight in a club and never pelt bottle in the Oval.

They glad that he get what coming to him. Because locking up Boy will make up for all the other cases, like Brad Boyce and others, where those who had the power to be above the law escaped the justice that should have been served. Meanwhile, the jokes jook like the waists of these same people who wine their way through endless Carnivals, play mas and dingolay as if there is no tomorrow. The fete will continue whether the Boy is in or out of jail.

The derision flows on social media and the radio stations. Trinis doing what they do best. Disguising their guilt in laughter and relief that they never got caught in whatever ratchifee they were doing. Not understanding that if the Boy is a monster, he is one of our own making. So desirous are we of someone to worship. In this place soca stars and politicians are equally untouchable by the long, selective arm of the law.

In this place soca stars and politicians have a long history of being of questionable moral standing. Pimps and thieves. Gun men and treasury looters. They do it all and then smile sweetly at us. And we like it so. Like we love the husbands who beat us. And the women who horn us. And the children who sell drugs and then build us nice houses.

We turn a blind eye to their sins when it suits us. While we wine. We dismiss the stories of what beasts they can be. We put them up on pedestals until we are ready to kick them down. Because the truth is that we love a messiah but we also love the part where we get to crucify them. We love to make fun of one of our own. Doing like the Boy is said to have done and kicking a man when he is down.

Well, he not that down. Because if you are wealthy or a public figure then you have extra buffer to take jamming. The middle classes who are above reproach and never do anything wrong are particularly pleased with themselves now.

For those of us who follow instructions from everyone, police and politicians and soca artists demanding that we move left, right down to the ground and everywhere else, we are particularly gleeful. We want them to know what it feels like to have their freedom taken away.

I’m not sure how I feel about the man called Boy being found guilty. The prettiest people do the ugliest things, so Kanye says. The prettiest people disappoint us the most. Because they give us so much beauty we don’t want to believe that they are capable of such ugliness.

We want men to be manly. But only to a point. We are ruled by badjohnism but when our best and brightest act like the animals we tell them they must be, we can’t stand it. We want to lose them in jail so that we don’t have to confront our own guilt. We don’t want to confront the way we treat our own women. The way we want to get away with our everyday corruptions and criminalities that if they were ever identified as such we would gasp in horror.

We’re nice people really. Too nice for jail. Jail is for little black boys. Jail is for murderers and picky-head bandits. Jail is not for jacketmen who kill the spirit of the country every day with their absolute contempt for people. The question is not whether the man called Boy will end up in jail. The question is how we begin to rethink what justice means and who we allow to have access to it.

On becoming a Stickfighter.

Just finished another stickfight lesson and am still in awe at the focus and discipline necessary to protect your head. One hand is stronger than the other so I’m working on having the same kind of response time with my left hand as with my right. But apparently because I’m an ‘ambi winer’ I should get the hang of it soon. The thing that’s struck me about learning stick is that flag waving is a complimentary artform. I find the movements are similar, as are the intentions. A flag woman is a thing of great beauty and abandon but also a dread warrior on whom an entire band is dependent for direction. The style I am learning is from Moruga – pretty stick’ they call it. In other words you get so distracted by the beauty of the dancing you don’t see when the bois coming to buss your head. It’s maths and physics and core strength and left/brain right brain coordination. It is also letting go and giving into to what the drum tells you do do with your body and let it speak a language you never thought you knew. Serious Ogun tings. The warrior in me is awakening.

On becoming a stickfighter

Had my first kalinda training session with the Bois Academy on Sunday. Really steep learning curve, given that I’ve always considered myself a pacifist and the least graceful person on the planet. But demystifying this martial tradition from the point of view of a player of stick for me is crucial as is the grounding that taking part in something so physical gives you. My shoulders still hurt and my left little finger is cramped from the terror I felt gripping that bois to protect my head, but here are the two most important things I learned:

1. Stickfighting is a beautifully deadly art that requires technical skill and a heightened consciousness of yourself in your body.

2. I am not a pacifist.