Or should I call this ‘Carnival: The Drama Part 2’.
On account of it’s been carnival season since December, it’s obvious that there would be more drama to ensue. Most recently, it’s been the argument about whether Carnival and Carnival costumes are the subject of cultural appropriation. Let’s talk about it.
SO WHAT HAPPENED?
It wasn’t even a full day after Trinidad Carnival 2020. The hot body gyals were not even near decided which 4 of their 60 pictures they could post on Twitter – when it happened. A heavily edited, high definition picture of a black woman in what I must admit was a really nice orange costume was posted on Twitter and Instagram. But it wasn’t a Trinidadian, a West Indian or even a Caribbeans! It was Jackie Aina. I know some people might be wondering who that is. She’s a African American Youtuber who creates content on makeup – and is of Nigerian descent. My immediate response was ‘everybody wants to be in the sauce’.
Later in the day, I would come to understand that practically all West Indians – those involved in Carnival or not – took great offense. To be totally truthful, I understood why. The general crux of their arguments was that our culture and heritage was being used as a marketing tool for a ‘carnival’ themed makeup line that Aina had created with a brand. Let me tell you what some of their main arguments were:
- That Aina and the marketing team for the brand strategically launched these pictures right in the height of Trinidad Carnival to gain traction
- That Aina was exploiting Caribbean culture for her own profit
- That while termed ‘Carnival costumes’, they should not be used as a costume
- That Aina was unwarranted in the photo caption used by herself about living her ‘Carnival Fantasy’
- And the main argument – that Aina was appropriating Caribbean culture.
SO WHAT HAPPENED NEXT?
A week later, Aina has not responded to these heated comments but has been open to the support from several people claiming Caribbean heritage – who probably haven’t even done a kiddies carnival. But I digress. Aina did, however, give $4000 to four West Indian makeup artists – a move which several people saw as a poor attempt to cushion the blow. I personally was not impressed. As I’m writing this, I realize that I don’t even know what the collection looks like to decide whether I’m impressed by the produc or not.
IS IT CULTURAL APPROPRIATION?
This mini-controversy has sparked this question and I’m still not sure. I understand the side of the argument that posits that our culture and sense of identity is being used as a marketing ploy. I agree when people become incensed that a festival that requires such immense creativity and equally large sums of money is used to fulfill an influencer’s fantasy without even crediting the region.
At the same time, I understand the argument that all of this is really a result of globalization and the metaphorical shrinking of the world. Certain aspects of Caribbean culture like dancehall and reggae music as well as Carnival have become extremely popular and now have gained international appeal. International artists have latched on to our music so much, that sometimes you can’t tell if it’s Drake or Popcaan. The fan bases of international superstars like Ashanti, Rihanna and Nicki Minaj see them taking part in Carnival and want to join in too.
There’s also been the argument that this is merely an exchange – given that several Carnival parties are themed on international cultures. Oriental ring a bell? A whole band based on Africa goddesses anyone?
SO WHAT NOW?
I think now is the time to really think about how large we’ve grown as a region. It’s a fact that although once rooted in traditions of slavery and emancipation, our Carnivals have become commercialized. Now is the time to figure out how to stop it from getting any worse – all while striking a balance between the fact that we need those tourism dollars that come with Carnival.
We have till July to figure it out.
Extra Extra 