1  

M.A.  in  CARNIVAL  STUDIES  

CAST5007  –  MAS  CAMP  STUDIES,  August  2014  

Martin  A.  Raymond  

HARTS  and  YUMA  –  CARNIVAL  2015  

 

Historical  Background  

  According   to   historian   Errol   Hill,   carnival   proceedings,   from   their   earliest  

genesis  in  Egyptian  and  Greco-­‐Roman  times  to  modern  days,  have  always  exhibited  

certain  common  features.  These  include  street  processions,  costuming  and  masking,  

music  making  and  dancing,  singing  of  satiric  or  laudatory  songs,  feasting  and  general  

revelry  along  with  symbolic  battles  between  contesting  bands  representative  of  the  

struggle  between  life  and  death,  summer  and  winter  or  simply  good  versus  evil.  The  

latter  often  depicted  in  the  forms  of  the  clown  or  buffoon  versus  the  demon  or  other  

diabolic   character.   Hill   asserts   that   the   Roman   Catholic   Church’s   adoption   of   the  

pagan  rite  of  carnival   led  to   its  spread  worldwide,   including  here   in   the  Caribbean.  

However,   in  Trinidad,   carnival  underwent  a   rebirth  and  metamorphosis   to   take  on  

the   unique   form   it   bears   today   (Hill,   1972,   pgs   4-­‐5).1   Hill   attributes   this   to   the  

complex   character   of   Trinidad   created   by   waves   of   Spanish   and   French  migration  

along  with  their  slaves  and  free  coloreds,  resulting  in  a  “galaxy  of  racial  and  national  

strains,  further  subdivided  by  artificially  structured  social  groupings”  (ibid,  pg  9).  

  Noted   calypsonian   and   historian   Dr.   Hollis   Liverpool   further   argued   in   his  

book  Rituals  of  Power  &  Rebellion   that   it  was   the   retention  and   transformation  of  

African   traditions   of   masking,   song   and   dance,   combined   with   European   carnival  

traditions,  that  gave  Trinidad  Carnival  its  unique  flavour.  He  points  out  that:  

  When,   therefore,   the   Africans   in   Trinidad   both   enslaved   and   freed   participated  

  communally   on   the   streets   and   plantations   to   celebrate   their   freedom  with   song,  

  dance,  ritual  and  parade,  they  were  continuing  their  African  traditions,  adapting  the  

  and   changing   them   at   the   same   time   to   new   circumstances.   2   (Liverpool,   2001,  

  pg22)  

 

  2  

  By  the  time  of  the  Emancipation  Proclamation  in  1834,  Trinidad  was  a  British  

colony   governed   by   Spanish   law,   with   a   largely   French-­‐speaking   population  

comprised   of   French   plantation   owners   and   their   soon-­‐to-­‐be-­‐freed   African   slaves,  

along  with  a  large  number  of  free  coloreds  (ibid,  pg.  138).  Post-­‐Emancipation  in  1838  

saw   the   rise   of   the   African   presence   in   the   Carnival   and   various   attempts   by   the  

authorities  to  suppress,  if  not  the  Carnival  itself,  the  African  element.  These  included  

restrictions   on   masks,   musical   instruments   and   other   practices   of   an   African  

character.   These   restrictions   continued   as   the   Carnival   became   more   urbanized  

following  the  migration  of  free  Africans  to  the  capital,  Port-­‐of-­‐Spain,  and  its  environs.  

There  were  concerted  efforts  to  stop  the  Carnival  entirely,  culminating  in  the  riot  of  

1881  (ibid,  pg.  306).  The  post-­‐Emancipation  period  also  saw  the  arrival  of  waves  of  

indentured   labourers   from   India   and   immigrants   from   Portugal,   China   and   the  

Middle  East.    

  The  period  1882  to  the  early  1900’s  saw   increased  government  control  and  

attempts  to  sanitize  what  had  now  become  a  national  festival.  The  early  20th  Century  

saw  changes  in  the  type  of  costuming  and  portrayals  at  Carnival.    These  include  the  

advent  of  ‘sailor  mas’  (sparked  by  a  visit  of  the  US  Atlantic  fleet  in  1907),  minstrels  

and  marines  (ibid,  pg  359).  The  presence  of  a  US  airbase  on  the  island  during  World  

War   II,   brought   even   more   American   influences   via   Hollywood   movies   and   other  

media.  The  1950’s  saw  the  use  of  more  creative  themes  and  fanciful  costumes  in  a  

move   away   from   the   traditional   historical   themes.   This   period   also   saw   the  

development  and  rise  of  the  steelband  as  the  dominant  sound  of  Trinidad  Carnival.  

  Trinidad  &  Tobago  was  granted  independence  from  Britain  in  1962.  The  post-­‐

independence  period  saw  the  ruling  People’s  National  Movement  (PNM)  co-­‐opt  the  

Carnival  with  the  steelband  as  a  symbol  of  nationalism  and  national   freedom.3  The  

decade  of   the  1960’s  also   saw  demographic   shifts  and  greater  numbers  of  women  

taking  part  in  Carnival.  This  decade  also  saw  the  rise  of  the  “party  band”.  

 

   

  3  

Harts  –  the  original  “Party  Band”.  

  Labeled  the  “fun  band”  by  the  Trinidad  media  in  the  1960’s,  Harts’  created  a  

template  that  is  copied  by  many  bands  today.  Formed  by  husband-­‐and-­‐wife  team  

Edmond  and  Lil  Hart,  their  first  portrayal  was  “  Was  This  Greece”  in  1961.4  They  

continued  to  produce  mas’  bands  for  30  years  before  the  passing  of  Lil  in  1991  

handed  the  baton  to  their  children  Thais,  Luis  and  Gerald.  Lil  broke  the  hegemony  of  

male  bandleaders  with  her  designs  and  became  known  as  “The  First  Lady  of  Mas”.  

The  band  was  always  a  family  affair  and  still  emphasizes  family  connections  among  

their  members.  Though  often  accused  of  being  elitist  and  sometimes  derogatorily  

labeled  a  “white  band”,  regular  Harts’  masqueraders  say  that  it  is  like  a  big  family  

and  that  “unlike  other  bands,  you  always  know  everyone  in  Harts!”5  

   It  is  quite  common  to  see  several  generations  of  families  playing  in  Harts  –  

though  not  all  in  the  same  section.  During  Carnival  2014  I  observed  clear  age  

demarcations  throughout  the  band:  teens  at  the  front,  single  males  and  females  in  

their  twenties  and  thirties  next,  parents  in  their  forties  towards  the  middle,  and  

older  folks  (presumably  grandparents)  to  the  rear.  This  allowed  the  teenagers  at  the  

front  to  revel  in  extraordinarily  scandalous  behaviour  of  a  type  perhaps  fit  for  an  

1860’s  “Jamette  Carnival”.    

  Harts  has  been  responsible  for  a  number  of  developments  and  “firsts”  in  the  

Carnival.  Among  them  being  the  first  to  forgo  winning  a  Carnival  title  or  prize  in  

preference  to  their  masqueraders  just  having  fun  on  the  road  (hence  the  term  “party  

band”).  They  were  also  the  first  to  introduce  amplified  steelband  music  on  trucks  for  

the  two  days  of  Carnival,  and  among  the  first  to  use  a  rhythm  section  and  a  tassa  

side.  Later  they  became  the  first  to  encourage  DJs  on  the  road  instead  of  live  music  

bands6  ,  and  the  first  to  put  together  a  linked  music  system  on  the  DJ  trucks  so  that  

each  masquerader  hears  the  same  song  at  the  same  time.  They  were  also  the  first  

with  drinks  on  the  move  in  carts  and  the  first  with  organized  security.  At  the  turn  of  

the  21st  century,  Harts’  became  the  first  to  develop  an  Internet  website  with  online  

registration.  However,  most  influentially,  Harts’  was  the  first  to  use  bikinis  and  beads  

as  the  base  for  a  woman’s  costume.  It  began  as  an  experiment  with  one  section  and  

is  now  considered  de  rigueur  for  Carnival.  

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  From  the  elevation  of  Lil  Hart  as  a  female  bandleader,  to  her  decision  to  shift  

from  historical  mas’  to  fantasy  themes,  Harts’  are  no  strangers  to  controversy.  The  

move  to  “bikinis  and  beads”  marks  one  of  the  major  turning  points  in  Trinidad  

Carnival.  The  move  was  driven  by  economic  considerations  at  first.  As  more  and  

more  females  joined  the  band  in  the  late  60’s  and  early  70’s,  the  demand  for  a  new  

type  of  costuming  soared.  The  1970’s  were  the  decade  of  female  empowerment  –  

bra  burning,  Women’s  Liberation  rallies  and  “I  Am  Woman,  Hear  Me  Roar!”7  This  

generation  was  proud  of  their  bodies,  their  sexuality  and  had  no  intention  of  hiding  

behind  yards  of  cloth.    

  For  Harts’,  Carnival  was  a  passion,  but  that  passion  had  to  be  tempered  by  

good  business  sense.  According  to  Luis  Hart,  “It’s  about  giving  the  customer  what  

they  want.  It’s  about  business.  On  Ash  Wednesday  all  my  bank  wants  to  know  is  

whether  I  can  pay  my  mortgage  or  not;  they  don’t  care  whether  I  preserved  the  

culture  or  upheld  traditions  or  created  great  art.”8  

YUMA  –  “Young,  Upwardly-­‐Mobile  Adults”  

  Located  one  street  away  from  Harts’  St.  Clair  base  is  YUMA  –  one  of  the  latest  

“party  bands”  to  have  sprung  up  in  Harts’  wake.  Established  just  five  years  ago,  they  

are  a  breakaway  of  Island  People  –  another  popular  “party  band”.  Unlike  the  multi-­‐

generational   Harts’,   the   typical   “Yuman”   is   young   (mid   twenties   to   thirties)   adult.  

With  a  decidedly  upper-­‐middle  class,  Afro  and  mixed  Trinidadian  masquerader  base,  

the   band   prides   itself   on   not   being   so   caught   up   in   business   that   they   forget   the  

cultural   aspects   of   mas’.9   They   pride   themselves   on   being   tasteful   within   the  

confines  of  “bikini  and  beads”  (and  feathers,  lots  of  them!).  Their  costumes  are  often  

complemented  for   their  superior   finish.    At   the   launch  of   their  2015  band,  patrons  

remarked  that  the  costumes,  though  thoroughly  modern,  showed  a  “fantastic   level  

of  detail  and  creativity.”10    

Structure,  Operations  &  Mas’  Themes  

  While   Harts   is   helmed   and   designed   by   the   three   family   members,   YUMA  

utilizes  a  massive  team  of  “committee  members”  and  designers.  Around  seventy  (70)  

committee  members  are  tasked  with  recruitment  and  organization.  This  creates  an  

  5  

instant  network   and   raises   the   status  of   those   lucky   to  be   chosen  as   a   committee  

member.  Often,  the  only  way  to  gain  admittance  to  the  band  and  its  various  events  

and  parties  is  through  a  committee  member.    

  Designs   are   handled   by   the   team   of   Crystal   Aming   (daughter   of   legendary  

mas’  man   Neville   Aming),   Stacey   Barrow,   David   Dewer   and   Justin   Scott.   They   are  

assisted  by  a  second  tier  of  “newbie”  designers:  Heidi  Dieffenthaller,  Karega  Alleyne,  

Richelle   Persad   and   Nigel   Puckerin   along   with   design   duo   Allia   Lewis   and   Leana  

Camacho.  This  year,  YUMA  had  added  the  talents  of  “mas  freshmen”  Nikita  Hyatali,  

Shawn  Dhanraj,  Adrian  Wilson  and  fashion  designer  Keisha  Thomas.11  

  Thematically,   the  band  started  with   the  presentation  of  Zodeak   in  2011  –  a  

take   on   Zodiac   signs.   They   followed  with  Press   Play,   a   tribute   to   video   and  online  

games.   Imagine  was   their   theme   for   2013   and   2014   saw   Circque,   inspired   by   the  

Cirque  du  Soleil.   YUMA’s  2015   theme   is  Reign  –  a   look  at  kingdoms,  dynasties  and  

empires  throughout  the  ages.  This  throwback  to  historical  mas’  was  borne  out  of  the  

idea   that   “everyone   wants   to   be   royalty.   At   some   point   in   our   lives,   we’ve   all  

envisioned  ourselves  being  a  sovereign…Royalty  encompasses  riches  and  rich  detail…  

it  tells  a  story  like  mas  is  supposed  to  be.”12  

  It  is  not  clear  exactly  how  YUMA’s  approach  of  design  teams  works.  However,  

they   indicated   that   some   team   members   handle   only   certain   aspects,   such   as  

headpieces  or   jewelry.   There   is   also  a   great  deal  of   collaboration  and  exchange  of  

ideas  and  generally,  everyone  helps  each  other.  

  Yuma  caters  for  3,000  masqueraders.  Costumes  are  priced  between  $5,000  -­‐  

$9,000  for  females  and  around  $3,500  for  males.  

  Harts’  2015  presentation  is  Dominion  of  the  Sun.  This  is  meant  to  symbolize  “all  

the  glorious  fun  that  one  can  have  under  the  sun  as  well  as  the  rule  that  the  great  

celestial   body   has   on   this   planet   and   the   life   within.”13   They   cater   for   4,000  

masqueraders.    With   similar  pricing   to  YUMA,  most   sections  were   sold  out   shortly  

after  their  launch  on  June  27th.  

   

  6  

  While  YUMA  seeks  to  offer   the  ultimate   in  comfort  and  perks  to  their   trendy  

masqueraders,  Harts’  prefers  a  more  traditional  route.  They  do  not  offer  all-­‐inclusive  

packages   because   they   believe   their   members   are   not   interested   in   that   kind   of  

service.   The   band   continues   to   feature   what   is   called   the   “Cart   Service”   in   which  

groups  of  families,  friends  and  also  corporate  entities  have  their  own  dedicated  drink  

and  food  carts  moving  with  them  along  the  route.  According  to  Annalise  Hee  Chung,  

Harts’  purchasing  and  operations  manager,   “We  maintain   the  cart   system  because  

the  masqueraders  prefer  it  that  way.  Harts  people  are  not  interested  in  having  their  

makeup  reapplied  on  the  road  or  getting  a  massage  while  en  route,  they  just  want  to  

have  a  good  time  and  enjoy  themselves.  Families,  friends  and  corporate  groups  put  

together   their   carts   and   they   just   pull   whatever   they   want   when   they   are   ready.  

They  don’t  have   to  go   in   search  of   refreshments  and  when   its   time   for   lunch   they  

have  their  food,  whatever  they  want,  right  there.”  14  

 

  Hee  Chung  said  that  Harts  is  also  seeking  to  hold  to  tradition  and  be  among  the  

first,   if  not   the  first  band   to   cross   the  Queen’s  Park  Savannah   stage  next   year  and  

then   play   it   by   ear   according   to  what   the  masqueraders  want   to   do.   She   said   the  

band   is   also   continuing   to   build   all   its   costumes   from   base   up   rather   than   order  

costumes  from  China  or  Japan.  “We  order  materials  from  China,  India  and  New  York  

then  build  all  our  costumes  from  scratch.”    

 

  For   Carnival   2014,   YUMA   and   Harts   were   involved   in   the   somewhat  

controversial   “Socadrome”   –   a   new   privately-­‐run   parade   venue   situated   at   the  

National  Stadium.  It  was  seen  by  many  as  an  attempt  to  create  more  division  in  the  

Carnival   and   separate   the   more   “uptown”   bands   and   their   presumably   lighter-­‐

skinned  masqueraders   from   the   others.   The   initiative  was   generally   regarded   as   a  

flop,  as  there  were  limited  audience  members  and  two  of  the  main  bands,  Harts’  and  

Bliss,  failed  to  cross  the  Socadrome  stage  due  to  logistical  issues.15  

 

 

 

 

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Conclusion:  “Carnival  is  Woman,  Woodbrook  &  Hollywood”  

  The   dominance   of   the   “party   bands”   with   their   thousands   of   female  

masqueraders  barely   clad   in  bikinis,   beads  and   feathers  has  drawn   the   ire  of  mas’  

traditionalists   and   the   religious   community   alike.   The   female   body   has   always  

threatened   the   status   quo   and   2014   was   no   exception.   Reviews,   editorials   and  

outraged   letters   to   the  editor  bore   striking   similarities   to   those  of   the   late  1800’s.  

Complaints  about   indecency  and  vulgarity   rose   to  a  deafening   crescendo.  Many  of  

the  complaints   though,  centered  on   the   loss  of  unique  Trinidadian  mas’   traditions:  

the   Midnight   Robber,   Minstrels,   Dame   Lorraine   and   Pierrot   Grenade.   It   is   a  

widespread  belief  that  the  bikinis,  beads  and  feathers  represent  a  cheapening  of  the  

Carnival;  a  relentless  move  towards  a  Brazilian  or  Las  Vegas-­‐styled  culture,  where  it  

is  impossible  to  tell  one  band  apart  from  the  next.  Band  launches  for  Carnival  2015  

have  barely  begun  but  the  knives  are  out  already:  

  “It  seems  we  spectators  have  nothing  new  to  look  forward  to  as  far  as  Carnival  2015  

  is   concerned.   Featured   in   the  Express   this  week…  were   costumes   from   two  bands  

  which  were  showcased  at  their  respective  launches.  What  do  you  know?  No  surprise  

  there   –   two   skinny,   bikini-­‐clad   models   draped   in   feathers   with   a   few   beads   as  

  garnish…  I  placed  these  costumes  side  by  side  and  they  looked  to  me  like  they  came  

  from   the   same  band,  which   I   am  encouraged   to   call   Feather  Fantasy…”   (Letter   to  

  the  Editor,  Trinidad  Express,  August  22,  2014)  

and  this  acerbic  dig:  

  “I   must   complement   the   ‘designers’   of   YUMA   for   being   so   environmentally  

  conscious.  Recycling   last  year’s  and  previous  years’   ‘costumes’.   It   is  a  great  way  of  

  reducing  garbage.”  (Letter  to     the   Editor,   Trinidad   and   Tobago   Newsday,  

  August  19,  2014)  

 

However,  I  leave  the  last  word  to  historian  Rudy  Piggot.  He  drew  his  inspiration  from  

Beauty   in  Perpetuity,  a  1961  George  Bailey  costume,  portrayed  by  Terry  Evelyn.  He  

feels   that   this   costume,   which   completely   transformed   the   art   of   masquerade   in  

Trinidad,  is  one  of  the  greatest  works  of  art  ever  produced  by  mankind.  According  to  

  8  

Piggot,   it  opened  his  eyes  to  the  possibilities  of  mas’  as  art,  as  pure  philosophy.  He  

feels  Carnival  is  still  in  safe  hands:  

  “I  feel  sure  that  genius  is  going  to  rise  from  the  ranks  of  the  bikini  and  beads.  It  will  

  not   be   one   of   the   old   school.   It   will   be   one   of   these   young,   female   designers.   A  

  genius  will  arise  who  will  see  limitless  possibilities  in  the  simple  form  of  bikinis  and  

  beads.  And  she  will  completely  transform  the  Carnival  and  our  understanding  of   it.  

  Also,   you   must   understand   that   Woodbrook   is   the   epicenter;   Tragerete   Road   is  

  where   all   the   cinemas   were   located.   The   constant   exposure   to   Hollywood   and  

  Hollywood  spectacle  was  the  genesis  for  the  pretty  mas.  And  Woodbrook  was  and  is  

  woman;   whenever   anything   was   happening   in   Woodbrook,   pan,   mas   or   bands,  

  young  men  would   come   from  all   over,   from  deep  South  even,  because   they  knew  

  Woodbrook  women  would  be  there.  Nothing  has  changed”16  

 

 

 

 

Figure  1.  Harts  women  on  stage,  Carnival  2014  

  9  

 

Figure  2.  Harts  teens  in  action,  Carnival  2014.  

  10  

 

Figure  3.  Harts  2015  frontline  costume  “Borano”  section  

 

 

  11  

 

Figure  4.  YUMA  2014,  “Jaipur”  section,  male  and  female.  

  12  

 

Figure  5.  YUMA  2015  “Medici”  section  

 Figure  6.  YUMA  2015  “Medici”  male  costume.  

  13  

 

Figure  7.  YUMA  2015  “Vuitton”  section  frontline  costume  

 

 

 

 

 

 

 

 

 

 

  14  

 

 

ENDNOTES  

                                                                                                               

1  Hill,  Errol.  The  Trinidad  Carnival.  University  of  Texas  Press,  1972    2  Liverpool,  Hollis.  Rituals  of  Power  &  Rebellion:  The  Carnival  Tradition  in  Trinidad  &  Tobago  1763  –  1962.  Research  Associates  School  Times  Publications,  2001.      3  Steumpfle,  Stephen,  “The  Steelband  Movement  in  Trinidad  &  Tobago”  Ph.  D.  diss.  University  of  Pennsylvania,  1990.  Qtd  in  Liverpool,  2001.    4  http://www.hartscarnival.com/2015/about.html    5  Harts’  masqueraders  Anna  Sabga,  Christine  Miller,  to  author,  August  2014.    6  This  was  a  side  effect  of  brother  Luis  and  Gerald  Hart  helming  a  popular  late-­‐1970’s  DJ  crew  known  as  “Purple  Haze”.    7  Helen  Reddy’s  1972  hit  song  that  became  an  anthem  of  the  women’s  liberation  movement.    8  Luis  Hart  speaking  at  UTT’s  “This  Business  of  Carnival”  symposium,  June  2010    9  Acacia  De  Verteuil,  “Yuma  Plans  Exciting  Reign”,  Trinidad  Guardian,  B1,  8  August  2014    10  “Yuma’s  Reign  Looking  Hot  for  2015”,  Trinidad  Guardian,  A38,  13  August  2014    11  “YUMA  to  Reign  at  Stadium  Tomorrow  Night”,  Newsday,  B1,  8  August  2014    12  Yuma  team,  “YUMA  at  5.’We  Rule  The  Road’”.  Trinidad  Guardian  Metro,  8  August  2014    13  “Harts  Hits  The  Trail  Tonight”,  Trinidad  Express,  27  June,  2014    14  ibid    15  Anna  Ramdass,  “Socadrome  Falls  Flat”,  Trinidad  Express,  4  March,  2014    16  Rudy  Piggot,  personal  interview,  August  2014.