The Future: Ole’Mas versus Modern Mas

The Future: Ole’Mas versus Modern Mas

‘Every Spectator is a Participant

Part 1 – 3 Soca Lovers, Great Britain and Its UK Carnivals.
Part 2 – The Beginning of Europe’s Largest Carnival Part II

This s Part 3

It is whimsical in perception, to even fathom that down a rabbit hole exists a magical world filled with strange but yet interesting colourful characters. The actual reality is that this world does exist for two days in a year, not in Alice’s head; but in the culmination of the greatest show on earth, the Notting Hill Carnival. It is the ultimate pageantry event of the year, bedazzling in its affair and spectacular in its sights. Diverse in their presentations it is the time that Mas Bands showcase their presentations to a million spectators through chosen themes, costumes and sometimes chocolate.

Mas has now become a distinguishing part of carnival and what started as groups of individuals celebrating in unison has now evolved into different bands operating in mas camps under band names and often competing for the best band and concept. Mas is derived from the word French word, Masquerade, meaning to show false pretence under guise. It is one of the five disciplines that make up Carnival and has played an integral part in the history of black people.

In the months leading up to Easter, on the eve of Ash Wednesday, the English and the French engaged in celebrations and staged elaborate masquerade balls that involved mimicking the other. At the amusement of their owners, black slaves were dressed up, paraded around in mockery and made to play, sing and dance. The black slaves also participated in their own festive and masking traditions and had festivals around the burning and harvesting of sugar cane. This was formerly known as cannes bruleés. It was away from the grandeur festivities, alone in their compounds and at the fields that they had their freedom. It was also during this time that they celebrated their own version of carnival often mimicking their owners. After emancipation came about, Canboulay formerly known as cannes bruleés became a symbol of defiance for black people. Blacks took to the streets in a symbol of freedom beginning their own version of carnival, infusing it with their culture and adopted culture of the land and further engaging in mockery at their former masters in memory of having been enslaved for so long. In that time mimicking took on a different turn and evolved into social commentary now well known as J’ouvert, one of the last odes to the origins of Carnival. Over time certain rituals were added to carnival and it evolved and merged to become a jamette; an underclass masquerade.

The 21^st century has modernised and commercialised mas, however it has never been like this. To play ole’ mas meant celebrating the true meaning of freedom and having the ability to join any band without financial obligations. Emotions were heavily incorporated in traditional mas as this was the one opportune time that black people would express their true feelings about their slave masters, not just through calypso or steel pan but through storytelling in costume and in satirising their journey from Africa. This meant building costumes from scratch, often using natural materials such as copper and soon Black people became experts at creating extraordinary costumes. It was not strange to run into the some of the famous characters such as the Robber late at night and be scared out of your wits or be mesmerised by Dame Lorraine and her ample bosom and bottom, nor was it strange to have been accosted by the Jab Molasi Devils and suffering the fate of being smeared by oil, however this was all celebration in good fun. Such was the elaborate work and passion that was involved in playing mas and such was the expression of their journey, a testament to the sufferings they had endured.

It was in 1973, under the instruction of Leslie Palmer a Trinidadian and an early participant in carnival, that mas bands were introduced to Notting Hill Carnival. It was his intelligence that led to him thinking of inviting all islands and londoners to participate in carnival and to add costume bands, sound systems and food stalls. This as he believed at the time was the true essence of how Notting Hill Carnival should be and it was this that drew the huge crowd that is now Notting Hill carnival’s 1 million participants.

As earlier stated, mas has evolved and in some elements its historical significance has been lost. Modern mas has now evolved and the preparations start right after carnival. Carnival now involves calypso, steel pan, playing mas or masquerading often in costumes costing hundreds of pounds, soca monarch, pretty mas, j’ouvert, panorama, fetes, less emphasis on ole mas, sound systems and not forgetting soca music. The latter part of 2000 saw a Latin American influenced concept introduced to the costumes as we know them now. Whilst pioneers might have balked at the sight of a half exposed breast encased around a jewelled underwire and a nipple tassle hiding the little modesty that was there, a part of the new and old generation has welcomed this with open arms. Costumes have changed dramatically in appearance and cost and so has the culture that birthed it. The ancient whirring sounds of the old Singer machine can now barely be heard over the deafening volume that is now mass produced costumes. The painstakingly, intricately needle sewn designs; can barely be seen in what is now machine sewn costumes. There is an evidenced loss of creativity, skills and jobs in this field.

The traditional history of mas faces the risk of being obliterated. We are currently fighting two battles. The battle to save our carnival from outside buyers and the battle to keep the tradition of ole’ mas alive. Mas bands in the UK are now operating under different umbrellas and scales. There has been a resurgence of public and corporate demand for bands to appear at events, but this has had its downfalls on the rules imposed. In addition certain bands are now able to afford international soca artists commanding hefty fees, leaving other bands in the shade driving the divide between bands even further.

The plight of mas has further not been helped by the cancellation of the annual Grand Carnival Costume Splash this year, held at the Alexandra Palace. Run by an organisation set up to represent the interests of mas bands the ultimate introduction and warm up to NHC has rather left a question mark on the future of support available to mas bands. Seemingly our long awaited response from the Notting Hill Mas Bands Association has also left a questioning thought on the current structure of the organisation.

There is hope. There are some mas bands who are still fighting to retain the true tradition that is ole’mas. However this is a never ending battle often heavily shrouded by commercialisation, third party influences, bureaucracy, red tape and lack of agreement. Only time will tell….