“Thirty Gyal to One Man”: Women’s Prolific Presence in the Trinidad Carnival

This chapter examines the very nuanced ways race, class and gender are used in the marketing of Carnival in Trinidad. The chapter pays particular attention to various texts on organizers’ websites, and their promotional material – while in some instances, juxtaposing and/or comparing them to other Carnival texts. Due to the popularity of some of these businesses, their authority is inevitable and as such, they have a huge impact on how locals and foreigners understand and experience Carnival.

Women and the De-Africanization of Trinidad Carnival: From the Jamette to Bikini, Beads, and Feathers

This chapter examines the evolution of Carnival traditions in Trinidad and Tobago as they relate to the historical context in which Carnival evolved from European traditions with distinct African customs as part of its DNA. The chapter examines the evolving African content in the annual Carnival celebrations from the 1950s to the present.Evidence is presented to show thatcurrent trends across most Carnival bands in Trinidad and the Diaspora has been to move away from epic theatricalproductions that have deep cultural meaning to themes and costumes that are superficial, homogenous and intimately interwoven with the sexual objectification of female masqueraders. These trends aremost apparent in the de-Africanization ofmas’ bands.

Carnival Music and Diasporic Transnationalism

The Introduction lays out the organization and the research methodology of the book Jump Up! Caribbean Carnival Music in New York City. It outlines the history of calypso, soca, and steelband music in the diaspora, including the globalization of Trinidad Carnival, which was transplanted to Harlem in the 1930s and to Brooklyn in the late 1960s. The concept of diaspora looms large here, of course, given the historical circumstances of New York’s Afro-Caribbean migrants. The Introduction also looks at the concept of hybridity, including hybridization between African and European musical practices in the Caribbean, which is central to diasporic transnationalism in this context. Also discussed is the concept of “heritage music,” or music that is important and needs to be preserved and protected. In addition, relevant writings on Caribbean music are reviewed and the study is positioned within the broader field of transnational diasporic music scholarship. And finally, a chapter outline is offered.