Political Resistance Through Carnival: The Art of Vulgar Fraction
Robert Young and Vulgar Fraction exemplify the political nature of Trinidad’s Carnival, blending art with activism. Their upcoming theme, “Kongo Déy,” critiques Congo’s exploitation in the electronics industry while promoting cultural visibility. Young’s experiences in family activism inform the band’s resistance against the commercialization of Carnival and advocate for a more inclusive celebratory space.
On March 4, during Carnival Tuesday in Port of Spain, Trinidad, the masquerade group Vulgar Fraction debuted their unique costumes designed by Robert Young. Their attire, featuring flowy skirts made from shredded banana trees and simple cotton masks, starkly contrasts with the prevalent mass-produced costumes adorned with beads and feathers that represent modern Carnival celebrations.
Historically, the Carnival has its roots in the 18th and 19th centuries, where enslaved African populations utilized music, dance, and costumes to challenge and mock their oppressors during festivities initially reserved for French plantation owners. This rich tradition of protest remains significant today, as many tourists and locals enjoy the Carnival as mere entertainment, characterized by partying and soca music.
Robert Young, son of labor union organizers, channels his familial legacy into his artistic endeavors, particularly through the political commentary embodied in Vulgar Fraction’s designs. The band’s theme for the 2025 Carnival, “Kongo Déy,” critiques the exploitation of the Congo region, emphasizing its connection to the electronics industry. Young articulates the importance of using mas as a form of engagement with contemporary global issues.
Reflecting on his entry into mas making, Young recounts that his early experiences shaped his artistic direction. His first encounter with a Carnival mask in the late 1970s sparked an interest in provoking reactions from others, leading him to develop a more serious involvement in mas after playing in Peter Minshall’s esteemed band.
Vulgar Fraction, formed in the late 1990s, consists of a diverse group of artists engaging with political issues through their work. Young emphasizes the need for the band to critique societal inequities and to provide a platform for discourse on critical matters, such as the Indigenous heritage of Trinidad, while fostering inclusivity within the artistic community.
As Carnival appears increasingly commercialized, Young highlights the stark divide present during parades, wherein bands are often cordoned off from the general public. He expresses concern over class disparities which dictate the experiences of participants. Consequently, Vulgar Fraction promotes a sense of community where masqueraders partake in the creative process, irrespective of wealth.
With respect to their upcoming costumes for “Kongo Déy,” Young aims to encourage exploration of the historical significance of the Congo within Caribbean identity. The use of materials reflecting the connection to the region’s struggles illustrates the invisible cultural legacies of enslaved individuals who contributed immensely to Caribbean heritage.
Young underscores that Carnival serves as a space for political expression, citing it as a venue where controversial subjects can be addressed through performance art. He shares how previous themes have tackled issues related to resistance movements while asserting his choice to avoid commercialization for the sake of artistic integrity. His vision remains rooted in defying norms while fostering authentic expressions of community and resistance within the Carnival landscape.
The article delineates the significance of Carnival in Trinidad as a site of political expression and resistance through the lens of Robert Young and his band Vulgar Fraction. Young’s innovative themes, including the forthcoming “Kongo Déy,” serve to address pressing global concerns while retaining the historical legacy of Carnival as a space for cultural reclamation. By engaging with social issues, Vulgar Fraction acts against the commercial trends that often overshadow grassroots artistic movements, advocating for deeper societal engagement during Carnival festivities.
Original Source: nacla.org
