The Wall
What are you looking at?
These fuzzy images were taken on Carnival Monday morning Jouvert celebrations in 2024. You will see people standing on one side of a fluorescent orange barrier. A clear demarcation of space.
The Artist Dean Arlin and I have had conversations about this segregation of space between masqueraders and the public recently. Professor Rhoda Reddock has also brought the subject to my attention in the past. For her it is particularly egregious because she remembers a carnival without these restrictions.
THE ROPE was put into the masquerade (mas) as a conscious way to separate the crush of outsiders from disrupting a band. Gradually more and more people dressed in black with the words SECURITY on them would hold the thick braided jute. - an added symbol of authority between the players and spectators.
For the first time in 2924 the rope that one could consider a ‘line’ of separation has been replaced with a neon ‘wall’ of clearest visceral segregation.
The Rope - Adele Todd - from my solo show - BLACK GUARD - 2016—————————
On closer observation of the barrier I see it as a metaphor for a much larger issue in our society. In Trinidad and Tobago we ignore the CEPEP Workers whose job it is to cut and maintain the nations streets. The ‘gang’ of people dressed similarly in fluorescent vests and dark clothing as in the photographs I captured also use dark blue tarps and orange barriers.
One can easily assumed that these workers are hired on to protect carnival bands from people like themselves at carnival time.
Taking a closer look at the obstruction it appears as a comical thing. A wall shot through with holes, a structure that is not at all sturdy, but at best wobbly and as our Trini slang goes, obzokee too bad!
As the Parliament of Trinidad and Tobago argues the STAND YOUR GROUND Laws, encouraging another ‘barrier’ between US and THEM - we cautiously look on with trepidation for this is no laughing matter as our government pushes for personal fire arms as defense against those who home invade.
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