T&T: Canboulay riots revisited

Another Guardian story. Canboulay is actually patois for the French cannes brulées, burned canes.

In the pre-dawn light, the masses gathered. Armed with poui sticks, stones and flambeaux, they stood ready to defend their right to celebrate.

The nervous British police stirred down the road, spoiling for a fight.

Suddenly, a flash bulb went off, as a tourist captured the moment on film.

Old met new early yesterday morning in the third annual re-enactment of the famous Canboulay riots of 1881, which are credited with saving Carnival.

Sponsored by the National Carnival Commission, the street theatre presentation featured actors from the Picton Folk Performing Company, Malick Folk Performers, Lord Street Theatre and American students from Trinity College in Connecticut and Pacific Lutheran University in Washington.

To preserve authenticity, the re-enactment was held on the same date, site and time of the riot, at 5 am on the corner of Duke and George Streets, Port-of-Spain.

The re-enactment began when “the townspeople” gathered and began beating drums, which had been outlawed earlier that year, and singing and protesting a colonial decree that they were not allowed to celebrate.

Suddenly, actress Ebony Paul, portraying “Sister Francine,” appeared on a balcony and screamed, “The police are coming!”

Once the police arrived, stickfighting ensued.

The riot culminated with Police Captain Baker, portrayed by Ian McDade, declaring the people would be free to practise their masquerade for two days in a safe manner.

This proclamation is considered the official start of Carnival.

Following Baker’s proclamation, Carnival’s right to exist was honoured with a celebration of Carnival culture on Duke Street.

Different characters, including the Dame Lorraine, dragon, imp and Bookman, jab jabs, blue devils and pan, provided by the Freelancers, were introduced, with signs displaying what year the character or instrument was introduced to Carnival.

Despite the early start, the event managed to attract a mix of local cultural enthusiasts, tourists and young people on their way home from fetes.

“We just came from a party, and this is way better,” said Aisha Mohammed, an American student living in Trinidad.
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The brainchild of John Cupid, NCC senior research officer, the re-enactment featured more than 120 performers.

Cupid said while he was given “a minimal amount” of funding by the Ministry of Community Development and Culture for the event, he got a lot of gayap (co-operation) to get things done.

Kenneth Alexis, a member of the Malick Folk Performing Company, was one of the lead characters in the re-enactment.

He portrayed the Chantwell, who led the traditional African call-and-response chants.

Alexis said the event was especially important because he felt Trinidadian culture is being taken over by foreign values.

“It is so important for the younger generation to see the struggle people went through (to preserve Carnival),” he said.

The event also attracted many older Trinidadians, including a number of them who have migrated abroad but have returned for the Carnival season.

“I am very happy to see them bringing back the old version of Carnival, which I remember from years ago,” said 84-year-old Sebastian Joseph, a Trinidadian now living in Boston.