Vulgar Fraction, led by Robert Young, reinvigorates Trinidad Carnival with costumes made from organic materials, focusing on political themes. Young connects the history of enslaved Africans with contemporary issues, critiquing the exploitation linked to the electronics industry through the theme “Kongo Déy” for the 2025 parade. The band emphasizes community and resistance amidst a landscape dominated by commercialization.
Vulgar Fraction, a unique masquerade band led by Robert Young, distinguishes itself from the typical Trinidad Carnival spectacle through costumes crafted from organic materials and poignant socio-political themes. Young emphasizes that Carnival has deep roots in resistance, highlighting how enslaved Africans used music and costumes for defiance against colonial oppression. In contrast to the mainstream commercialized celebration, Young insists that political commentary remains at the core of his artistry.
Young’s family background in labor organizing has influenced his work, guiding him to incorporate social consciousness into his designs. The theme “Kongo Déy” for the 2025 Carnival critiques the exploitation of the Congo, linking it to the contemporary electronics industry. Young’s approach promotes a critical discussion about local and global issues through the art of masquerade.
Creating a masquerade band that embraces political themes is challenging amidst industry competition that focuses on luxury and exclusivity. Young facilitates inclusive participation, encouraging collaboration among band members. He expresses concern over the socio-economic divides perpetuated by the commercialization of Carnival and aims to foster a spirit of togetherness and activism through his projects.
The concept for “Kongo Déy” emerged as Young explored the historical significance of the Congo in the Caribbean, asserting that many traits of Caribbean culture originate from this rich heritage. The process of costume creation allows masqueraders to blend individualized expression with collective identity, resulting in vibrant costumes symbolizing their shared history.
Young views Carnival as a vital platform for political expression, arguing that it permits commentary that may be censored in other contexts. Through his work, Young merges art with activism, using the festive environment to challenge social norms and discuss serious global issues. He prefers to maintain a smaller, intentionally chaotic band rather than conforming to a commercially driven model of success.
Robert Young and the Vulgar Fraction challenge the commercialization of Carnival, integrating political resistance into their art. By using Carnival as a platform for social commentary, they draw connections between history and contemporary issues, particularly concerning the Congo’s role in shaping cultural identity. Young’s commitment to a smaller, more inclusive band reflects his dedication to preserving the original spirit of Carnival as a space for genuine expression and activism.
Original Source: nacla.org
