So You Wanna Go to Trinidad Carnival? Pro-Tips for Carnival Virgins

It has been a week since I came back from Trinidad Carnival and since that time I have been hit with a barrage of questions about how I did it, how much it cost, and how I managed to get the costume–among other things. So I decided to compile my responses to those questions. This is the account of someone who managed to plan and execute the trip of a lifetime twice and now I want to share some of my tips. So here goes…

Tip #1: Get Your Money Up!!!

Trinidad Carnival is not cheap–there are other inexpensive Carnivals that you can check out such as Cropover, Jamaica, Caribana, Miami…But Trinidad is where you want to set your sights to experience one of the original Carnivals. Yet, the “greatest show on earth”–after Brazil–is an enterprise of globalization and because of that, as its popularity increases among foreigners, so do the prices. It is not lost on me how this manages to isolate some Trinidadians from the festivities (so much so that banks in Trinidad create loans that citizens can take out for Carnival) but that is another post for another time. In general, Trinidad Carnival is not cheap so whether you are playing backline or frontline, staying at the Hyatt, Hilton, or a bed and breakfast, going to Machel Mondays, Soca Monarch, a fete a day or two, be prepared to shell down your shekels. In the spirit of full disclosure, my first trip was about $5000 which is on the high-end of the Carnival budget because I treated is as if I may never go again. I had a frontline costume (more on this later); I purchased Monday Wear from a local designer; I had my makeup professionally done for Carnival Tuesday; I went to roughly one fete a day (and there are no “Ladies free before” parties during Carnival); I stayed at the Hyatt, one of the most expensive hotels Trinidad; I secured a driver, and the flight was not cheap.

So, when you factor in all of those costs (and that doesn’t even include the cooldown trip some people take to Tobago) you are looking at about $5000 give or take. You can cut costs by lodging at a bed and breakfast or an AirBnB with a few friends–my cousin, who goes every year, told me he and his friends pay about $65USD/day for a bed and breakfast. You can also cut cost by doing a backline costume which usually doesn’t exceed $800USD–or by doing no costume, by attending one fete a day or a fete every other day, and maybe by arriving on Saturday before Carnival–but keep in mind that the later you arrive other things will be thrown into turmoil such as costume pickup or you’ll pay a lot more for the plane ticket to fly in at the height of festivities. If you get nothing else from this post, get the fact that you need to get your money up and get it up early. In Carnival you must count the costs because this is not your average vacation. In many ways, you must pay to play. So a quick breakdown of costs would look a little something like this:

Airfare: $700-1200 (this will depend on where you are flying from and how early you buy your ticket. It can be more of less than this range. Flights from Florida and NY tend to be direct and are a little cheaper than flights from elsewhere such as Atlanta.)

Lodging: A hotel such as the Hyatt is approximately $500 USD per night during Carnival week and most people stay on average 6 nights. $500 x 6 = $3000 before hotel taxes and fees. So if you are splitting this with someone expect to pay $1500+. As I said earlier, you can cut costs by staying in a bed and breakfast or AirBnB. Consider the fact that during this week, you won’t get much sleep and your hotel will essentially be for naps and changing clothes, so think about how much you want to pay for that and govern yourself accordingly.

Fetes: There are all-inclusive fetes which are usually over $100 USD, with some topping $180. Non-all inclusive fetes are under that but really, you’ll want to go to mostly all-inclusive fetes because they minimize the number of times you have to reach in your pocket once you touch down.

Costumes: I’ll talk more about this later but just for primer’s sake, a woman’s costume can run anywhere from $700-$1600.

Transportation: Life is easier if you hire a driver during your time in Trinidad and a driver for a week who will take you to and from all the fetes and to the road on Monday and Tuesday will probably run you about $150 USD per person.

Makeup: If you want your makeup professionally done, there are many makeup artists who fly into Trinidad for the occasion. Expect to pay about $125 for an appointment.

Incidentals: After you’ve taken care of all of these costs over the course of your planning, you’ll find that there’s not much you’ll need money for when you are in Trinidad. But, this does not preclude you from walking with money for other incidentals. I recommend you have about $500 USD with you for the week. You’ll spend less than that for sure, but have it just in case.

 

 

Tip #2: Get Your Planning Skills Up

Executing a good Carnival experience necessitates getting your logistical intelligence quotient up. I am not the best planner but when it came to this trip I managed to have my ducks in a row thanks to a few good friends and a good concierge service–concierge services, for a fee, help you get tickets to fetes, get your costume, secure ground transportation, and lodging, etc. If you are seriously considering going to Carnival you should not only be saving your money but plan to start paying on things around July/August when bands launch their themes and costumes. So about the costumes…

img_0852.jpgThe costumes that you see during Carnival season are the creation of designers in a “masquerade band” or “mas band” for short. They are not costumes you commission someone to make for you. You DO NOT order costumes off of Etsy or Party City. You DO NOT look at a band’s costume and design your own–that is disrespectful to designers and it is the preference that, if you see a costume and want a modification, you discuss that with the band or the designer and they will try to make arrangements for modifications. Your costume is created by a designer who designs for a band and you pick and purchase it through a band and that is what you play mas in. Playing mas has a rich history, one that situates it as a practice of resistance for enslaved persons whose masters were having lavish masquerades that the enslaved couldn’t participate in, thus they created their own celebration called Canboulay. Canboulay experienced several transitions including when it was celebrated, and part of those traditions included the timing of Carnival as many of us now know it falls right before Lent. Playing mas has experienced an evolution with costumes that have gone from stock characters to “Pretty Mas” where intricately bedazzled costumes now mark the occasion.

There are over a dozen masquerade bands in Trinidad with new ones popping up every year. This means everyone should be able to get in where they fit in. In July/August, these bands begin to “launch” their costumes for Carnival based on a theme. Each band may have up to 12 different costumes (sections) and about two variations on those 12 which is called frontline and backline. A frontline costume is usually the more ornate of the costumes in a band section because it is decked out with feathers and large feather backpacks, jewels, sequins, wire bras, etc. Thus the frontline will run you at least $900 USD. The backline costume is less ornate but equally beautiful and usually caps at about $800 USD. If you are playing with an all-inclusive band, that +/-$800 is not only paying for your costume but your unlimited drinks, food, DJs, and other amenities while you are on the road on Carnival Monday and Tuesday. Some bands have what they call “midline” costumes which offers you a little bit of the glitz of frontline without the high price tag.

In order to register, some bands require you to contact a “committee member” to secure a spot in the band. For those initiated into Greek organizations and secret societies, this may remind you of your intake process and it may cause you no worries. Actually, who am I kidding, the committee process for Carnival is daunting regardless of your previous experience with Greek organizations or secret societies. The committee member is the gatekeeper who stands between you and the costume of your dreams and they may ask for your measurements, pictures, your social media profile or your unborn child (just kidding) in order to grant you entry. And, if I am fully transparent, some of this process is discouraging as some bands have a history of privileging the aesthetics of lighter skin and smaller bodies, particularly in promotional materials for their costumes. So know that Carnival is not an apolitical space and you will have to choose your battles. But do not be dismayed, there are sometimes ways around the committee member process if you use a concierge service who happens to have a relationship with the band you are interested in and the costume you are interested in (this is “if,” keeping in mind that utilizing a concierge service does not guarantee you your choice of any costume.) I was fortunate to get my foot in the door with a new band, ROGUE, which is a partnership between large band Tribe and large event producer Caesar’s Army. I highly commend them to any newbies on the road for 2020 for their great customer service, their beautiful costumes and their non-stop pump on Carnival Monday and Tuesday. ROGUE has plenty vibes. Whatever you do, by July/August, be ready to send emails to committee members or customer service people and be ready to ante-up! Registration for costumes is about a quarter of the costume cost upfront and then you can pay on it up until your arrival.

Pro-tip: Pay off your costume before you touchdown in Trinidad, it makes picking it up easier.

As you can see, procuring a costume alone is quite the event so you definitely need the virtue of patience and a bit of perseverance to get what you want for Carnival. Planning for this is key as is planning for every other dimension of your trip. If you are looking at doing Carnival in 2020, some hotels are taking reservations now and will be taking deposits (it all kinda goes back to getting that money up EARLY). Caribbean Airlines have released flights and others will soon, so set your FareHopper or other notification systems up to watch fares and try not to buy your plane ticket any later than August. As for the acquisition of fete tickets, that happens later in the year so you have time. In the meantime…

Camboulay-2018-11.jpg

Tip #2.5: Know the History and the Culture

I alluded to this a bit in tip #2 and it really should be tip #1, but I hope you’ll understand the gravity of this regardless of where it falls. Many people see pictures of the women and men in costumes or of the dancing and immediately say they want to go to Carnival. Such responses strike me as reductionist as people are only responding to the most salacious part of the experience. Don’t get me wrong, there is immense beauty and sensuality in Carnival to be seen and experienced, yet that is only part of the entire experience. To experience Carnival and love it is to love the history and culture that it springs from. A history steeped in the lives and experiences of African and Caribbean people. It is to be intrigued by more than a glitzy costume and sexy whine, but to be interested in and passionate about the history of a practice that stems from our ancestors crafting practices of liberation in the midst of oppression. It is to feel the spirit of the music from steelpans to soca–this is key especially for Black Americans because there is no “American” music played during Carnival, so if you don’t love soca, calypso, chutney, steelpan, this won’t be for you. It is to savor the flavor and fragrance of Trinidad and Tobago’s food. It is to see the actual melting pot of cultures and ethnicities on an island where many are blended together. It is to immerse yourself in a culture beyond what is promoted.

Tip #3: Get Your Weight Up…Or Off…Or Maintain

There are, of course, obvious reasons that one goes hard in the gym before Carnival and that is to fit perfectly into your costume. Whether you are playing frontline, midline, or backline, you want to look YOUR best in the costume on Monday and Tuesday because those are the two days where you will wear the least amount of clothes alongside thousands of other people wearing the least amount of clothes. Carnival is not a time to be bashful or insecure about your body, it’s a time to celebrate it and have great confidence in it and all that it does for you not just for the time that you are in Trinidad but all year around. Thus, it behooves you to start your workout plan and diet early so that you can pace yourself and get the results you want. But, more than getting to some goal weight and muscle mass, you want to exercise regularly ahead of Carnival because you NEED to build stamina and endurance in general.

Carnival is a marathon, not a sprint. It is non-stop action from the moment you land. If you are about that life you’ll probably have a fete or concert or two a day from the day you land until when you leave. You need endurance for that. You’ll clock less than 6 hours a sleep a night–and that’s generous. Carnival is seriously not for the faint of heart or the unfit–do not read unfit as anything other than not physically fit. You’ll mostly survive on naps and water alone and maybe a double here and there–your eating will get random during your Carnival trip because when choosing between eating and sleeping, you will want the sleep. For example…

On my first Carnival Friday, the day after my friend and I landed, we went to a party that night and then had to do a ticket pickup for a fete. Given all of that, we got back to the hotel at about 10:30PM and needed to wake up at 12:30 for a 1:00am shuttle to a fete in the bushes (Caesar’s Army’s AM BUSH). While my friend retired to the room to nap–and you must be honest about your body’s capacity to push through on little sleep or its need for sleep–I ate dinner because I knew I wouldn’t see food for roughly another eight hours and I needed sustenance if I was about to be partying from the wee hours of the morning until sunrise. I got back to the room at midnight with enough time to casually prepare for the fete which meant cutting up some old jeans into shorts, cutting my t-shirt into something relatively decent and cute, and waterproofing all my belongings (a necessity for any fete or J’ouvert which involves paint, mud, powder, chocolate, and water). And that was just year one, year two was even more intense with going to the same fete, being stuck in traffic for two hours, they taking a 30-minute nap to head to AM BUSH. So, if you follow, there is very little sleep. I was up from about 9am on Friday straight through to about 10pm on Saturday (with the exception of an hour nap between AM BUSH and Soca Brainwash). I survived because I prepared well beforehand with lots of exercise, rest, wheatgrass shots, etc. You need to be healthy to enjoy Carnival, not just for yourself but for your friends, which brings me to my last point.

Tip #4: Get Your Squad Up

You know how they say it’s not about where you are but who you are with? Well, Carnival is equal parts where you are and who you are with. It not only matters that the friends in tow love soca as much as you do or love the idea of being a sleep-deprived soca disciple decked out in feathers and jewels as much as you do, but also that you share similar dispositions about travel and experiencing Carnival together. After all, this is a person, if you choose to share lodging with them, who will see you at your best and your worst and your lowest. They’ll be the ones to hold your hair while you puke from drinking Puncheon, or the one who will wake you up from a nap in the middle of a fete, or the one who will have to help you wash paint off your back, or the one to whine up on you when they sense your energies are getting too low, or the one who can read your energy so well that they know when to leave you alone, or the one who will allow you to put a scarf on the door because you decided to get your groove back, or the one who will help you get into your costume on Tuesday. I promise I list those as general situations and not specific examples of anything that happened on my trip, my travel companion can attest to that. Nevertheless, going to Carnival with the right friends is important. They need to be people you trust, people who you know are responsible and people who are fun and not flakes. Not every person who will express interest in going to Carnival is the right person to go with. Carnival is a for serious inquiries only, so pick reliable, ready friends–that’s financially, physically, mentally, and soca-cally.

Carnival is guaranteed to be the best time of your life if you save and budget well, plan well, exercise well and stay healthy, and travel with the right friends. You can find out more information about specifics parts of planning on the sites below but know that the four things outlined here are integral to even pull this off at all.

For more information on Carnival check out:

A Masqueraders Perspective on the Carnival Experience (Global Carnivalist offer the most comprehensive information on all the Carnivals across the world, you will want to bookmark and follow her on all mediums.)

Guide to Trinidad Carnival Bands (Global Carnivalist’s guide to the Trinidad Carnival bands)

Up Close at Trinidad’s Carnival (An oldie but goodie by Barbara Ehrenreich’s. It documents her experience at Carnival which is well worth reading. This is a good outsider’s perspective.)

Carnival 101 with Fodor’s Travel (This article offers a broad swath of events one can attend during Trinidad Carnival from Panorama to the Canboulay Riot reenactments.)

And of course, feel free to leave your questions and comments below or, if you know me in real life, you can reach out. 🙂

PS: Start planning NOW!

 

 

 

 

Trinidad Carnival: My Eden

At this moment, hundreds of thousands of people from around the world, myself included, are traveling to Trinidad for Carnival, the season of fetes, masquerading, and feasting that precedes Ash Wednesday. To the liturgically inclined, Carnival, like Mardi Gras, marks the end of Ordinary Time and the beginning of a period of solemnity. But for an increasing many, Trinidad Carnival just marks the beginning of a global season where at least once a month, every month until October, there is an opportunity to “Free Up Yourself.” Even after the Soca Monarch is crowned, the lights on the stage go dim, the feathers and jewels are swept off the street, and everyone sobers up from the various Carnivals around the world, there is still a flurry of activity going forth to plan next year’s Carnival. Much like God, Carnival is always working.

In 2016 I attended my first Carnival in Miami and became a convert. I became a Carnivalist and soca disciple who didn’t know what I thought fun was before I played mas. Prior to attending Miami Carnival, I watched family and friends fete for hours, days, a week even, and then I experienced it–on a smaller scale–for myself. From that moment on I fervently held on to my last memories of a Carnival experience while I counted down the days until my next. And now, here I am, on my way to my second Trinidad Carnival aka “The Greatest Show on Earth.” Given this,  I wanted to take this time to reflect on what it is that makes Carnival so compelling to me and why I am going to Trinidad again. There are some who have misconceptions about Carnival, presuming that with the (increasingly) tiny costumes and scantily clad people, the sometimes suggestive music, the copious alcohol, and what seems like an entire ethos of debauchery, that those of us who attend are going there to be promiscuous and reckless. While that may be some people’s aim, the majority of us go for a completely different reason. I go because Carnival is a religious experience, an Eden even, where the mind, body, and soul are without shame.

There are a variety of religious experiences if religion is defined as a cultural set of beliefs and practices that people gather around. If part of this is the gathering of persons inspired to give focused attention, adoration, and commitment to a subject or object, then Carnival is it. Or maybe Soca is the religion and Carnival is the church. Either way, year over year people take a pilgrimage to Trinidad and other Carnival locations, spending months in physical and financial preparation, to come together and be swept up in the spirit of Soca–and some liquid spirits–and all that comes with it: ecstatic dancing, laughing, singing, bonding, and a celebration of life. In all of this, there is a great sense of unity among those gathered and a unifying power in the individual.

This unity has historical significance as the origins of the practice of participating in Carnival is one in which enslaved people celebrated apart from their oppressors–who were having masquerade balls of their own–and donned character and caricature costumes that represented important figures in African and Caribbean culture. These figures ranged from devils and mammies to tricksters and were a site of resistance and spiritual performance. These practices still exist today but on a slightly smaller scale as Carnival has experienced the boom of globalization which has made it so that pretty masquerading has eclipsed the traditional. Pretty mas has its detractors and one can surely write a think-piece about all the problems inherent in the concept, but I find promise in the pretty masquerade as it is a special site of resistance for women, especially Afro-Caribbean women who sometimes exist in spaces that do not affirm or proclaim our beauty. In Carnival, the pretty masquerader proclaims and flaunts her beauty and embodies the saying, “Carnival is woman.” I would go so far as to say that the practice of playing mas in Carnival can share affinity with doing womanist work as it is woman loving her body, music, dance, love, roundness, other women and men both sexually and non-sexually, etc.

So, one of the parts of the Carnival experience is “playing mas,” otherwise known as masquerading–this could involve joining a traditional band with the aforementioned characters or joining a pretty mas band. Every year, a masquerade band has a theme and costumes designed by local and international designers connected to that theme. Note: You are not commissioning a random person to make your mas costume, you buy it through the band and your costume is distributed in the region where the Carnival is held–that means that my Trinidad Carnival costume is in Trinidad, not something that is shipped to me in Atlanta that I then have to figure out how to get down to Trinidad and back again. In Miami I played with Generation X whose theme for 2016 was Erotica, and I played in the Bondage section. If you know my research you know that I considered it Kismet that my first time playing mas was with a band whose theme for the year was Erotica. The costume consisted of a lot of black, chains, and restraint-like accessories, yet I was anything but restrained or in bondage. I was free, the freest I’d been in my life because I was in a place where I was at one with my body.

Carnival is not only the place to dash weh your inhibitions but to dash weh your insecurities about your body because it is truly a place where all (bodies) are welcome. Playing mas in Carnival is an experience of becoming one with your body in private to be at one with it in public. I find this significant as someone raised in and a current adherent to a Christian tradition that makes the body a problematic. My comfort with my body has come in waves and it has taken me nearly a decade to embrace my body as a woman, fully sacred, and fully good. Carnival felt like a culmination of this work and attending a Carnival annually or bi-annually is an opportunity to celebrate bodies, particularly in the womanist way of celebrating roundness. For me, adorning my body with nothing other than a bra made of wire, a strip that covers my nipples, and a tiny bikini bottom is a step to my liberation. When I put on my costume and look at myself, it is like seeing myself for the first time. Everything looks new and incredible to me. Finally, my body is enslaved to no one and no thing, it is liberated and it dances among other liberated bodies. Thus for me to spend nearly a week in various level of undress is not something to be ashamed of–that is why I post and speak fairly openly about it because I want to decrease the judgment and shame that is sometimes implied and put upon women in particular for enjoying this exhibition of our fearfully and wonderfully made bodies. We came into this world naked–and by that I not only refer to our natural birth but the divine birth through which we knew no shame and our bodies were good.

Furthermore, those of us who are part of the diaspora but are chained to the West, benefit from participating in practices that explicitly unlink us from the notion that our bodies are bad or that a naked body equals a corruptible body. At Carnival, bodies are without shame, there is no objectifying gaze save for those who are completely out of their league in understanding what is liberative and sacred about participation in Carnival–I say this as one who believes that an argument forwarding a notion of objectification in this context is one that ignores that the objectifier, i.e. European colonizer, came before objectification. Among the diaspora there is no objectification because we understand our bodies and ourselves not as objects or objectified, we are subjects of our heritage and our liberation. We are free, and as subjects to our heritage we also experience that freedom through music and dance.

I’ve been dancing in some way, shape, or form throughout my life, it is what frees me up to do more and to process a spectrum of emotions that cannot be excised in the mind. Dancing is how I commune with myself, with God, and with the earth. Carnival allows me to commune with those parts all the more because of the Soca music that is integral to the celebration. The waistline is the focal point in much of the dancing done at Carnival and its primary job is to whine–which is why many songs will focus on the whine. While the ability to ability to whine the waistline is woman’s work, men have also become as proficient, providing some healthy competition and a hell of a time. Men and women meet on the road and enjoy a kind of promiscuous dancing, going from one person to the next, usually thanking their partners along the way. Shame is non-existent here because there is a sense that this is what our bodies were made for, to consensually congregate and dance freely. Together on the road, no harm can befall us. We are safe there dancing with one another as freely as we want to and there is nobody or no gaze to disrupt us as the vibrations of the sound system blasting soca moves us.

Being raised in a Jamaican family, I was exposed to all of the genres of Caribbean music but never took a liking to soca, I was a strictly dance hall girl. But after a weekend of living on a soca soundtrack in Miami, I was hooked and couldn’t imagine my life without it.  The pure positivity and vibes of soca music are infectious and seemingly does something to its listener. Whether the song is about giving a man or woman a good whine, celebrating life, or giving praise to God, it imbues the listener with a life force unlike any other genre of music–with the exception of some Gospel music. That life force is a positive productive power best articulated in Benjai’s 2015 hit, “Phenomenal.” In it he says,

Soca does give me meh powers
Turn me into masqueraders
Soca does give meh meh powers
Draw me straight in different colors
Masqueraders, we get powers
Is a wonderful feeling
On Stage together holding me banners With different colors
We crossing the stage

This song asserts soca’s power as a unifying force individually and communally. It gives people powers to come together from all walks of life and celebrate life against all odds. The different colors are a reference to both those of the vibrant costumes, flags, and the people who represent the multitudes of the world. Many gather around the sound of soca and experience themselves in the world as never before because they are reminded of who they are in relation to themselves and in relation to everyone else. Some soca music also manages to situate itself within the Christian tradition through songs that ground a Judeo-Christian conception of God as bestower of blessings, protector, provider, and comforter. This explicit reference to religion aside, soca at its core is about unity and establishing the power of people coming together. This year many of us have the hit “Famalay” by Machel Montano, Bunji Garlin, and Skinny Black to look forward to as we once again affirm our unity as people when we sing,

We doh see skin
We doh see colour
We see strength
We see power
We doh see race
One or di other
Once he is breathing on dis earth he is ma brother

Soca is a great equalizer for the masses that can help us to see one another by collapsing difference for one moment in time and celebrating our common humanity. This is something we are hard pressed to do in many other places, but somehow it works in the context of soca and Carnival.

Soca reminds us that a celebration is always around the corner and the riddim drives us to shake off everything that binds us. The sound calls us to live in the moment, love life, and love one another. This is why I consider myself a soca disciple. I fell in love with soca precisely because the music’s message is so consistently positive and celebratory in a way that one almost can’t account for by words alone. There is metaphysical-level goodness happening in soca that takes me to another level both on the road and in my daily life. Soca is, literally, good for the soul.

In all of this, Carnival strikes me as a religious experience because it gathers every part of the self and penetrates it with generative, positive, productive energy. It does so within the context of a community that gathers for the purpose of imbuing itself with this energy. It takes the body and redeems it, restoring it to a pre-Fall moment where shame is not an issue. It takes the mind and gives it a higher consciousness, bending it toward unity and love as a consistent ethic. It lifts the soul to a higher vibration. It is more than just an opportunity fling it up, it is an opportunity to get free. And so, off I go to my personal Eden to live on top of the world–the Black Church folk will get that. See you all on the flipside.

 

Nothing’s Changed But We Must: An Election Results Reflection

I wanna know who my enemies are so that I can look them in the face when I kick their ass. 

These were the words of my professor on what it means to have a president-elect who brings to the surface and legitimizes the hatred and ignorance we’ve seen in the last year and reveals the true colors of America. We had an hour-long discussion in class about the election, one of the most rich discussions I’ve had since the results. It indicts both sides and issues a clarion call to those of us who are truly committed to change. Below is my synthesis of our discussion:

 
One of the most powerful things she said is that with Trump nothing is different, it’s that everything is revealed and heightened. We now look each other in the face knowing who we are. It’s not that Clinton or a third-party candidate would have abolished the issues now brought to the forefront, it’s that everyone would have remained polite and shrouded in the process of procedurals. But the masks are off now, the racist, sexist, xenophobic, bigots, who always were are now empowered to come out of hiding. As she said, “Culture doesn’t change, it distracts us by pretending to change.”
 
I asked her what it means to “kick their asses” and she suggested that kicking their asses resides in the work of being broadly and deeply read on the issues, not just the glamorous ones that the media disseminates but the ones no one is talking about that has the most impact on lives. The work of kicking asses is unglamorous and won’t be anything the media wants to write about– which signals that everything the media writes about and packages to us represents very little of what we ought to be concerned about. 
 
uburoiiidayk_905Trump’s ascent represents a country taken in by the spectacular, the spectacle and, I think the grotesque–think Ubu Roi for those familiar with Jarry’s work.  But we have to move away from that and begin extremely dirty work that we won’t even be able to talk about for a while—this is important, reminiscent of Gil Scott Heron’s “Revolution Won’t Be Televised. The work we need to do is heavy, we all have to become students and read, comprehend, and synthesize the system more deeply than we have ever. This will be unglamorous that we won’t be able to hashtag, but it will be necessary to dismantle the power currently in place, Trump, Clinton–yes Clinton had the kind of power that must be dismantled too, it wasn’t so obviously insidious but it would have still ensured we didn’t tackle head-on what is ailing this country–and others. The work of resistance and revolution that will get us over in the next four years ain’t gonna be for or on social media. It’s going to be on the backside of the mountain studying, strategizing, and executing plans. It’s the kind of work no one will pat you on the back for because they won’t even know your name. It’s the kind of work that will necessitate we sacrifice our comfort en masse as some of our sisters, brothers and others have already been doing. It’s the kind of work that will require collectivity and building together, no independent rogues and cliques, but cooperatives across communities, cities, and states. This is anti-absorption, anti-visibility, anti-legibility work. And it starts with getting your political weight up and learning how to read this system.
Here are a couple of places to start, as a warmup to the much heavier lifting to come:
 
The people must know before they can act.
Ida B. Wells

Why the Nate Parker Case Matters Now

Over the weekend old news about Nate Parker surfaced. 17 years ago Parker and Jean McGianni Celestin, who he co-wrote The Birth of a Nation with, were involved in a rape case while they were roommates at Penn State in 1999. The victim said that she was raped by the two men after passing out in their room following a night of drinking while Parker and Celestin said that the sex was consensual. Parker, who had consensual sex with the victim on an earlier occasion was, somehow, acquitted and Celestin was convicted and then had it overturned in an appeal. The victim, whose name we don’t know, dropped out of Penn State, attempted suicide twice, and committed suicide in 2012 according to recent reports. Fast forward to 17 years later…

Parker is at the height of his career with his film The Birth of a Nation being talked about as an Oscar contender. But now his past has come back to haunt him and some discussions of it are inordinately focused on how it may affect his chances at an Oscar:

Fox Searchlight, Nate Parker Confront Old Sex Case That Could Tarnish ‘The Birth Of A Nation’

Nate Parker’s College Rape Trial Raises Questions for ‘The Birth of a Nation’ Release

Is This the First Controversy of the 2017 Awards Season?

The industry is concerned that they may not see a return on their investment and their rising star might fall. This feels kind of familiar to me, as familiar as a father who, during his child’s sentencing for raping an unconscious woman said, “That is a steep price to pay for 20 minutes of action out of his 20 plus years of life.” Turner was convicted on three counts of felony sexual assault, sentenced to six months in jail, three years on probation, and will have to register as a sexual offender. His lenient sentence was attributed to his whiteness and privilege and his people’s desire to see him flourish after this hard time in his life. In many ways, Parker’s case reads the same.

There seems to be a need to protect men in power or on the brink of power in sexual assault cases. Parker is joining a line of men in Hollywood–and other men in power–with sexual assault cases on their personal resumes: Woody Allen, Roman Polanski, Bill Cosby, and the scores of others we don’t know about. I’m reminded of a story I pitched a year ago on Bill Cosby, rape culture, and Christian silence only to have a man in a position of power tell me that “outing” Cosby at the time–which was around the time of the South Carolina confederate flag debate–would be a distraction. As if we couldn’t address both. I was discouraged and felt like this man also shared a part in rape culture by keeping silent and trying to keep me silent–don’t worry, I did end up writing about Cosby, Christian Silence and Rape Culture on my personal blog. But this is just another example how men in power protect other men in power. (Want another example, check out this season of Orange is the New Black.) Hollywood’s interest is to protect these men because of the investment they made in them and Parker is just the latest. This isn’t an attack on him because he’s a black man on the come up, it’s par for the course for his position in the industry and for this day and age when talk of sexual violence is becoming commonplace. Given this, Parker’s PR has clearly been on their grind if his mealy-mouthed statements are any indication:

“I stand here, a 36-year-old man, 17 years removed from one of the most painful moments in my life. And I can imagine it was painful, for everyone. I was cleared of everything, of all charges. I’ve done a lot of living, and raised a lot of children. I’ve got five daughters and a lovely wife. My mom lives here with me; I brought her here. I’ve got four younger sisters.”

“The reality is, this is a serious issue, a very serious issue, and the fact that there is a dialogue going on right now around the country is paramount. It is critical. The fact we are making moves and taking action to protect women on campuses and off campuses, and educating men and persecuting them when things come up. … I want women to stand up, to speak out when they feel violated, in every degree, as I prepare to take my own daughter to college.”

Maybe “mealy-mouthed” isn’t a fair description of his statement, it’s more than a mealy-mouthed statement and yet it is still less than what is necessary at a time when narratives of sexual violence are still more determined by men than they are by the women who are most affected by it. Parker tries to pay general attention to those affected by sexual violence, but in his particular role in enacting violence he, nor Celestin, take explicit responsibly for their actions and that feels violent to me.

I have a problem with the fact that the discussions of this are being couched in terms of how this will affect The Birth of a Nation‘s chance at the Oscars or its general release. That ought not be the issue and Parker’s deflecting from the problem of that framing is disheartening. I get it, Parker wants to tell Nat Turner’s story and wants America to face the truth of its history. But this encounter with his own part in the history of sexual violence is also an opportunity for him and America, particularly American men, to face the truth of the role they play in normalizing sexual violence. Parker’s statement turns away from the gross reality of how sexual violence narratives are scripted for men in positions of power. They are swept under the rug and a “not guilty” sentence is interpreted as innocence while the victim suffers in silence. Their stories can be revised and edited in such a way as to make the men the victims and cancel the real victim out. In this case, the spotlight is on Parker and Celestin but they are using it to focus on the wrong thing, themselves, their project, and their families as some kind of scapegoat that absolves them from anyone ever thinking they could do harm. All of this is the result of failing to recognize how easy it is for sexual violence narratives to be minimized and how they–Parker and Celestin–are a part of the problem.

17 years later this still matters because the effects of sexual violence have no statute of limitations, not for the victim, not for the suspect, not for anyone involved. We need a different word from Parker and Celestin, one that doesn’t deflect to their project and who they’ve become before it takes a long, hard look at the effects of a crime they committed 17 years ago and how the stories we tell about rape always matter. An accusation of rape always matters. A rape case always matters. The victim of rape always matters and Parker and Celestin seem blithely unaware that, 17 years later, this still matters as if it happened yesterday because rape matters.