HOLY FAITH CONVENT COUVA

THE FRENCH LEGACY IN TRINIDAD AND TOBAGO

A Paper Presented in Partial Fulfilment As a Requirement for the Subject

FRENCH

SUBMITTED BY: MAKAILA SHYENNE VALLEY FORM 1 F

Date Due: 23rd September 2013 Teacher: Madame Warner- Mayers

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Assignment Question

Research the following aspects of French Culture in Trinidad:

1. History 2. Places

[When the French came and under what circumstances] [Insert at least 10 of these on a Map of Trinidad and Tobago]

3. French Names [At least 10] 4. Carnival 5. Folklore [Traditional Characters and Music] [Characters and a short description]

6. Food, Dance or any other interesting details that you discover as you research 7. Personal Application [Discuss what you learnt while doing this project, and try to relate it in your life]

INTRODUCTION
The rich and diverse culture of Trinidad and Tobago has been mainly shaped by English, Spanish, Dutch, African and French influences. This project focuses on the legacy that the French brought to our beloved multi-cultural society.

HISTORY
In 1498, Christopher Columbus landed in Trinidad and, as was the practice in the so called age of Discovery and Exploration, took possession of the island in the name of the King and Queen of Spain. The island did not have the promise of immense wealth like the other countries in Spains Western empire. Trinidad was, therefore, largely ignored for over two hundred and fifty years. Trinidad was a Spanish colony until 1797. It was never a French colony, yet France has greatly influenced its history and culture. This happened, of course, because of the influx of French immigrants in the late 1700s, as a result of the Cedula of Population (1783) inviting foreign Catholics to settle in Trinidad. These immigrants, coming mainly from the French Caribbean colonies, especially Martinique, and also from Grenada (British since 1763 but with a significant French population), and including many "free coloureds" as well as whites, brought with them their enslaved labourers, who were given no choice in the matter. Together they ensured that a fused African-French culture would be dominant in Trinidad for many years to come, in language (French, and Crole or Patois), religion (French forms of Roman Catholicism), the expressive arts (dance, music, song), folklore, festivals and so on. Spanish influences were largely, though not entirely eclipsed. The sister island was a formal French colony for two periods, 1781-93, and again 1802-03. Yet French influences there were minimal, except for a few place names. During the two periods when France ruled, hardly any French people, other than a few officials, came to live in Tobago. The landowners, the holders of the enslaved labourers, continued to be British, the persons who'd been given land grants when Tobago was formally ceded to Britain in 1763 and others who'd acquired land subsequently. They and their slaves, mostly people kidnapped in Africa and brought on the 2

infamous Middle Passage, and their descendants, ensured that Tobago's culture would continue to be an African-British fusion, in language (English, and Tobago English Creole), religion (various Protestant faiths, especially the Anglicans, Methodists and Moravians), the expressive arts (AfricanBritish traditions of music, dance and song). The two periods of rule by France, which didn't involve any significant French immigration, made little impact on Tobago's culture.

PLACES

PETIT VALLEY BELMONT MON REPOS

PETIT BOURG

BELMONT POINTE-A-PIERRE

CHAMPS FLEURS LA FILLETTE

ST. CLAIRE SANS SOUCI

FRENCH NAMES
1) Martineau 2) Duval 3) La Guerre 4) De Four 5) De Verteuil, 6) Pierre 7) De Coudray 8) La Caille 9) La Fleur 10) Agostini

TRADITIONAL CARNIVAL CHARACTERS

The word Carnival came from the Latin carne and vale which mean farewell to the flesh. It was following the Spanish Cedula of Population of 1783 which resulted in thousands of Catholics - mainly Caribbean French people coming here to settle and develop the country. They brought their customs with them including Carnival. Today, French has remained the language of many of the Carnival terms, the commonest being: Masquerade (the art of masking), Dimanche Gras (Fat Sunday), Cannes Brulees (burnt canes) and Jour Oouvert (day open), which is the opening first hours of Carnival. The stories behind the traditional Carnival characters lend meaning and significance to these unusual portrayals. Often an individual plays one specific persona year after year and is familiar with the traditions associated with that role. The custom is usually passed on orally to family members or other interested persons. According to Elma Reyes, some of these portrayals were performed as mas' for money (16). The masqueraders would offer entertainment in the form of humour, songs or skits in exchange for money. In some cases threats and scare tactics were used to coerce bystanders into giving them cash. Some of the best known characters are as follows: The following are some of the traditional characters

BABY DOLL The baby doll character was portrayed mainly in the 1930's, but is still seen every year at Ole Mas competitions. The masquerader portrays a gaily dressed woman, decked out in a frilled dress and bonnet. In her arms she carries a doll which symbolises an illegitimate baby. The masquerader usually stops male passers-by and accuses them of being the baby's father. She would then demand money to buy milk for the baby. This character was sometimes portrayed by a man who would speak in a high-pitched voice. BATS The bat costume is normally black or brown and fitted tightly over the masquerader's body. The headpiece covers the head entirely, with the player being able to see through the mouth, or lifting it up to his forehead. It is made of swansdown with papier-mach face, teeth, nose and eyes. Leather shoes with metal claws for toes are normally used. Ordinary shoes can also be adapted by attaching of long socks, metal claws and a second sole. The bat wings are made from wire and bamboo or cane, and are covered with the same cloth as the skin-fitting costume. These wings can extend to 12 or 15 feet, and the masquerader's arms are fastened to them. Matching gloves complete the costume. There is a bat dance to go with the costume. During performance, the masquerader crawls, flaps, dances on his toes, and folds his wings in a series of choreographed movements, imitating those of the bat.

BOOKMAN The Bookman, also referred to as the Gownman or Ruler, is a feature of devil mas portrayals. The other two groups of characters in the devil band are the imps and beasts.The Bookman's costume consists of Tudor-style pants, or a richly embroidered gown made of velvet and satin, with a pleated or fluted bodice, and a flowing cape festooned with biblical scenes. On his head is an oversized head mask which contains small horns and carries a demonic expression. The face of this mask is supposed to mirror the face of the devil himself. The Bookman carries a pen and a large book in which he writes the names of prospective souls for the devil. The Bookman is the principal character in the devil band, and, in keeping with his status, his movement is waltz-like, with constant bowing. Musical accompaniment is provided by an orchestra of trumpet, saxophones, bass and drums playing conventional tunes.

BURROKEET 6

Burrokeet, derived from the Spanish word burroquito (little donkey), is constructed from bamboo so as to give the illusion of a dancer riding a small burro or donkey. This masquerade was derived from both the East Indian culture and the Venezuelan Spaniards. The costume is comprised of a welldecorated donkey's head made from coloured paper. This head is attached to a bamboo frame. The masquerader enters through a hole at the back of the donkey's neck and carries the reins in his hands, thereby creating the illusion that he is its rider. The body of the donkey is covered in a long satin skirt with a sisal (rope) tail, sometimes decorated with flowers. The bit and bridle are made of coloured cord. The rider wears a satin skirt and a large matador straw hat and dances in a way that mimmicks the antics of a donkey. He also performs a dance called Burriquite, which originated in Venezuela.

COW BAND The Cow Band, which dates back to the days of the Canboulay, consisted of a small group of men dressed in costumes of sacking made from rice bags. These costumes were completely covered with dried plantain leaves. Each masquerader wore a homemade papier-mch mask representing the head of a cow surmounted by a pair of horns. Members of the band would frolic and move through the crowds behaving like real cows. This masquerade became dormant for a few years, and was later revived by the employees of the abattoir, and became part of the J'Ouvert celebrations.

DAME LORRAINE The Dame Lorraine or Dame Lorine was imitative of the mas played by the 18th and early 19th century French planters, who would dress up in elegant costumes of the French aristocracy and parade in groups at private homes, particularly on Carnival Sunday night. They also performed the sophisticated dances of the period. The liberated slaves recreated these costumes complete with elaborate fans and hats in their own fashion, using materials that were readily available, such as assorted rags and imitation jewellery-type items, but emphasizing and exaggerating the physical characteristics, and dancing to small bandol and cuatro bands.

FANCY INDIANS This mas is based on the indigeneous people of North America. The wearer decides how expensive or expansive he wants this costume to be. The headpiece, in its simplest form, is worn with feathers sticking up, and more feathers making tails down the back. More elaborate headpieces are built over bamboo or wire frames. The headpiece then becomes so heavy, it needs to be supported by a structure that covers the masquerader's entire body. This, the masquerader's wigwam, is richly worked with ostrich plumes, mirrors, beads, feather work, papier-mach masks, totem poles, canoes and ribbons. Bands of Indians can comprise a warrior chief and his family, a group of chiefs, or a group of warriors. JAB JAB The name of this mas is derived from the French patois for "Diable Diable". It is pretty devil mas. The costume consists of a Kandal or satin knickers, and satin shirt with points of cloth at the waist, from which bells hang. On the chest, there is a shaped cloth panel which is decorated with swansdown, rhinestones and mirrors. Stockings and alpagatas are worn on the feet, while the headdress consists of a hood with stuffed cloth horns. The costume can come in alternating colours and be divided into front and back panels. The Jab Jab has a thick whip of plaited hemp which he swings and cracks threateningly. These whips can reduce the costumes of other Jab Jabs to threads. JAB MOLASSIE Jab is the French patois for Diable (Devil), and Molassie is the French patois for Mlasse (Molasses). The Jab Molassie is one of several varieties of devil mas played in Trinidad and Tobago Carnival. The costume consists of short pants or pants cut off at the knee, and a mask and horns. The Jab Molassie would carry chains, and wear locks and keys around his waist, and carry a pitch fork. He may smear his body with grease, tar, mud or coloured dyes (red, green or blue). The Jab Molassie "wines" or gyrates to a rhythmic beat that is played on tins or pans by his imps. While some of his imps supply the music, others hold his chain, seemingly restraining him as he pulls against them in his wild dance. The differences among the various forms of devil mas were once distinct, but have become blurred over time. MIDNIGHT ROBBER The Midnight Robber is one of the most beloved characters in traditional Carnival. Both his costume and his speech are distinctive. His "Robber Talk" is extravagant and egocentric, and boastful. He brags about his great ancestry, exploits, strength, fearlessness and invincibility. This "Robber Talk" is derived from the tradition of the African Griot or storyteller, and the speech patterns and vocabulary are imitative of his former master. He wears a black satin shirt, pantaloons, influenced by the American cowboy tradition, and a black, flowing cape on which the skull and cross bones are painted. Also painted on the cape is his sobriquet. He also wears a huge black, broad-brimmed, fringed hat on which a coffin is often superimposed. In his hand he carries a weapon either a dagger, sword or gun and a wooden 8

money box in the shape of a coffin. He carries a whistle which he blows to punctuate his tales of valour. MINSTRELS Black and white minstrels are based on the American minstrel shows popular around the turn of the century in which white singers painted their faces black. The local minstrels are black persons who perform with their faces painted white. Their costume consists of a scissors tail coat, striped trousers, tall straw hat and gloves. One or two minstrel bands still remain, entertaining audiences with popular old American songs such as Swanee River and Who's Sorry Now. They accompany themselves on the guitar and the rattling bones played between the hands. They may sometimes have a dance routine. MOKO JUMBIE Moko is a derivation of the god "Moko", coming straight out of West African tradition. Moko is a diviner in the Congo language. The term "jumbie" or ghost was added by the freed slaves. It was believed that the height of the stilts was associated with the ability to foresee evil faster than ordinary men. The Moko Jumbie was felt to be a protector of the village. This mas is well-known throughout the Caribbean. It is an authentic African masquerade mounted on sticks. The stilt walker plays on stilts 10 to 12 feet high. His costume consists of a brightly coloured skirt or pants, jacket and elaborate hat. He would dance through the streets all day, and collect money from people on the upper floors and balconies. His dance was similar to a jig, and he was often accompanied by a drum, flute and triangle. NEGUE JADIN This character, which is now extinct, goes back to the pre-emancipation era. During that period, Carnival was observed mainly by the upper classes . While the slaves and free coloureds were not forbidden from celebrating Carnival, they were compelled to stay within their own stratum of society and not presume to rub shoulders with the aristocracy. The planter class on the other hand, often imitated the dress and customs of their slaves during the carnival celebrations. One of their favourite disguises was that of the Negue Jadin (Negre Jardin French for garden slave). This costume consists of tight-fitting satin or khaki breeches reaching to just above the knee where willows are hung, and a bright, plain coloured shirt with a "fol" or heart-shaped panel of contrasting colour sewn on the chest and bordered with swansdown. The fol is decorated with tiny mirrors and rhinestones. As with all carnival costumes during this period, the masquerader covered his face with a mask. After emancipation, the former slaves adopted the Negue Jadin character in their carnival celebrations, but as a satirical portrayal of the planter trying to imitate them.

PIERROT GRENADE

The Pierrot Grenade is a descendant of the Pierrot a finely dressed masquerader and deeply learned scholar, who displayed his erudition by spelling polysyllabic words and quoting passages from Shakespeare. He was also a feared fighter with a whip or bull pistle, and was followed by a band of female supporters who fought on his behalf against other Pierrot groups. His descendant, the Pierrot Grenade, is a satire on the richer and more respectable Pierrot. SAILOR MAS This character was introduced in the 1880s when British, French and American naval ships came to Trinidad. It is one of the more popular costumes, being lightweight and inexpensive. There are several variations on the sailor mas, including Free French Sailor, King Sailor, and Fancy Sailor to name a few. The costume of the Free French sailor consists of a black beret with the name of the ship on the rim of the beret, a tight-fitting short sleeve bow neck jersey with horizontal blue and white stripes, long, bellbottomed black melton pants, and black shoes.

FOOD
The Creole influence on Trinidadian Cooking can be clearly seen as most of our gastronomic creations have Creole roots! Callaloux - known in Trinidad was well as Martinique, Guadeloupe Saint Lucia ect

Accara- known to Trinidad, Martinique, Guadeloupe, Saint Lucia, Dominica ect

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Matt- Cassava Porridge- known to Trinidad, Guadeloupe, Saint Lucia, Dominica ect.

Tjennt - Chennette Creole name for Guinep is known by its Creole name in Trinidad. Mango V - Green Mango is known by its Creole name in Trinidad Matoutou- a dish made of rice and crabs is known by the same name in Martinique and Guadeloupe.

Kassav - Cassava Bread - known to Trinidad, Martinique, Guadeloupe ect. Zaboka - Creole name for Avacado- In Trinidad it is known by the same name.

MUSIC
all of our traditional drums with the exception of those brought to Trinidad by East Indians HAVE CREOLE NAMES! Tanbou Bambou = means bamboo drum in Creole, these musical instrument is known to all Trinidadians. Tanbou Di (talking drum) known by the same name throughout the Creole speaking Caribbean Tanbou Lap Kabwit (goat skin drum) known by the same name Tanbou Bl (belair drum) The drum and the dance are known to ALL TRINIDADIANS. KALINDA (Trinidad's traditional stick fight songs) most are sung in Creole Belair songs (most sung in Creole) Chak-Chak Creole name for Maracas this name is known an used by ALL TRINIDADIANS to describe the instrument

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DANCE
Bl (Belair) Contique Quadrill Lancer Kalinda Vals Djouba Bamboula Waltz Minuet

FOLKLORE
Papa Bois" is the most widely known of all our folklore characters. He is the old man of the forest and is
known by many names, including "Matre Bois" (master of the woods) and "Daddy Bouchon" (hairy man).

Papa Bois appears in many different forms, sometimes as a deer, or in old ragged clothes, sometimes hairy and though very old, extremely strong and muscular, with cloven hoofs and leaves growing out of his beard. As the guardian of the animals and the custodian of the trees, he is known to sound a cow's horn to warn his friends of the approach of hunters. He doesn't tolerate killing for killing's sake, and the wanton destruction of the forest.

"La Diablesse", the devil woman of Trinidad and Tobago folklore, is sometimes personified as an old
crone, who steps forth with her cloven hoof from behind a tree on a lonely road, the sound of chains mingling with the rustle of her petticoat. Sometimes she takes the form of a beautiful woman, to lure some unsuspecting passerby to his death or perhaps to madness. Sometimes she appears as a tall, handsome creole woman who with swinging gait and erect stature, passes through a cane or cocoa field at noon and catches the eye of a man who then proceeds to follow her, and, never being able to catch up with her her feet hardly touch the ground - finds himself lost, bewildered, far from home and he is never himself again.

The "Ligahoo" or "Loup Garou" is the shape changer of Trinidad's folklore. An ability which is handed down in some old creole families, this phenomenon is usually associated with an old magic-dealing man of a district who is both feared and respected, not only for his facility to change his form to that of a

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vicious animal, but also for his power over nature. He can lay curses and extended protection; from him, charms and bush medicine are also readily available.

At times the apparition may take the form of a coffin being carried through the streets and the clank of chains is distinctly heard. A single man may bear it on his head, protected by a giant "phantome". If by chance, the coffin and its gruesome attendant were to be used to facilitate the uninterrupted transportation of Bush Rum, this effect would virtually ensure its safe passage. If you want to see a Ligahoo and not be seen by it, take some yampee from the corner of a dog's eye, put it in your eye and peep out of a key hole at 12 midnight.

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