Guy Fawkes wrong mask for moko jumbie

Dara E Healy

“He walks on extraordinarily long wooden legs and because of this enormous height is a magnificent, stately floating presence, high up in the sky…African griots expounded tales of these tall statuesque figures literally floating, in the dead of night, through darkened villages and forests as the symbol of an avenger to those who had evil thoughts or committed evil deeds.”

– Jeff Henry, Under the Mas

THE LAUNCH of Carnival brings with it the usual conversations about the viability of our festival, why wining should be considered culture and the overall direction of our celebration.

I continue to see mistakes being made with our traditional masquerades, both by practitioners and funding agencies. Particularly concerning is the portrayal of the moko jumbie, an ancient African masquerade and deity. If Carnival is to offer more to our society, especially younger generations, we need to be respectful to the traditions that make our Carnival unique and an inspiration to many.

If you look up Guy Fawkes, you will read that in 1605 he and a group of other protesters attempted to blow up the British Houses of Parliament to bring attention to the persecution of Roman Catholics.

Fawkes was unsuccessful, but his name and actions survived partly due to the fascination behind the mask that bears his likeness. The Guy Fawkes mask was featured in the 2005 film V for Vendetta. In the film, the protagonist wore the mask as a symbol of defiance against a fascist regime which he eventually destroyed.

In the following years, global protesters gravitated to the Guy Fawkes mask. For members of Occupy and other movements, the exaggerated features and disturbing smile resonated with them as they agitated against growing social inequity, materialism and environment decline.

David Lloyd, the British graphic novel artist who designed the mask, is quoted as saying the Guy Fawkes mask “has now become a common brand and a convenient placard to use in protest against tyranny – and I’m happy with people using it.”

Across the globe, young people from New York to Bangkok, London, Istanbul, Cairo, Turkey and Rio de Janeiro wore the mask during public protests. Many found deep symbolism in the fact that while they were all wearing the same mask, their identity remained hidden.

It was a powerful statement on removing focus away from the individual, emphasising instead collective resistance. Masks, says one writer, have a “…communicative and performative power to help protesters make demands, raise awareness and offer a degree of protection.”

In masquerades inspired by traditional African culture, the mask holds a different kind of power. Masks connect wearers to the ancestral realm. They open a portal of spiritual conversation for the masquerader, as well as providing a line of communication between the deities and the community.

Stilt-walkers are found in different regions across Africa, from Ethiopia to Tanzania, Senegal and Nigeria. The stilts are practical as well as spiritual, as they serve to protect the wearers while walking in dangerous terrain.

Maureen Warner-Lewis notes that “Stilt performers are common Igbo, Ibibio and Ijaw masquerades. African masquerades represent spirits – hence jumbi from Kikongo
nzambi ‘spirit’ and KiMbundu nzumbi ‘spirit of a dead person.’” All masks have specific meanings.

The moko jumbie has been part of TT Carnival celebrations since the 19th century. After complete emancipation in 1838, thousands of Africans came as indentured labourers. Their presence helped to deepen the transfer of cultural norms and practices, including their masquerade traditions.

As a child, Jeff Henry recalls moko jumbies in the streets at Carnival time, while Warner-Lewis points out there were actual bands of moko jumbies. Additionally, “bands of African juju warriors…black Indians, Congo and Shango bands in ‘traditional’ masquerades in Trinidad were in fact composed of Africans, their relatives and friends.”

We were not taught this, but masking is sacred to African traditions and culture. The connection to the spirit realm is also key to showing respect for our ancestors, who support and guide us.

I have sought to explain in precise terms why the placing of a Guy Fawkes mask on the body of a moko jumbie masquerade is inappropriate and distasteful.

State and private organisations must therefore be more vigilant when they include traditional masquerades in their promotions or advertising, and Carnival practitioners should ensure they do careful research before they portray African masquerades. Innovation is welcome; disrespect is not. Remember the vengeance of Moko.

Dara E Healy is a performing artist and founder of the Indigenous Creative Arts Network – ICAN

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