A Review – First Lap: Keeping the Carnival Alive

 ‘Build some quality into the technical aspects of our influence’

By Hollis Lashley

The history of Caribana from 1967 was indeed informative. The multiethnic groups involved, the many languages spoken, all served to blend colorful images with a nostalgia which was felt “deep within my Caribbean belly”. SKF, the Toronto host at Sunday night’s First Lap: Keeping Carnival alive, appealed to the universe to be a participant in this virtual presentation, with Caribbean music bouncing off the sanity of those looking on.

Danse Caribe was spirited and agile, displaying its prowess. As for Toronto Steel, the young bass man made the Energizer Bunny look paralyzed. What happen to the audio, and the transition from one performance to the next? Several times I had to bawl out like Sprangalang, “Oh Gorm” or words to that effect. What was the overall objective of this show? I wondered. Was it simply to showcase, to educate, to demonstrate cultural diversity? I am sure that Toronto and environs do have the brain power to build some quality into the technical aspects of our influence.

COVID don’t want anything to do with our kind of mas’. The kings and queens were superb in terms of creativity, design, color and movement. One would presume that the flashbacks were used as reminders of past glories, and purveyors of future reenactments. One has to experience cultural pride and joy in participating in one’s traditional and empowering rituals. At the same time, while we must be aware of inclusion, we must also be conscious of authenticity.

Macomere Fifi and the Connector entertained the crowd in true Caribbean style with their renditions. The Epic carnival costumes were comfortably displayed by Venom, Carnival Revellers, Tribal Carnival and the Saldenah group. I for one, and perhaps no one else, noticed that some costumes were paraded like models on a runway, while others were “danced” with abandon in true Carnival style. I could almost anticipate the sounds of ‘BAM, BAM’ if any of those ladies were to collide with each other on that stage. And by the way, where was the male contingent among those costumes? Did I miss something as I went for a drink of water? If so, I apologize.

Carnival people, please consider designs which could incorporate some kind of comfort for the eyes of those who are looking on. The gaze is being pulled downward. Remember the principle, As above, So below. Allow the imagination to do some work.

If you have never been, plan to go to the Toronto Caribbean carnival, just to enjoy some aspects of the carnival which could not have been displayed in the virtual event. The Jab Jab Jouvert, the Rum Fest, the many types of ethnic foods, the drumming styles of various groups, and of course the limes, hanging out, cookouts, rhythm sections jamming; call it what you want. But, all in all, Carnival can be a time of expressing humanity’s freedom to exist without restraint, without being confined to control by unfair means, as long as that freedom is also allowed for all others.

Now, can you hear a distant drum, dancing on the laughter of a melody? That is a piece of David Rudder’s composition. Tears and laughter. Joy and sorrow. Light and darkness. Birth and death. But, through it all, the resurrecting hope that this too shall pass. Change, the only constant. Pride and profanity. Power and glory. Not Force. If you know what I mean, put up your finger. Amen.

(Hollis Lashley is a cultural activist based in Washington DC.)