Kambule celebrates East PoS cultural heritage

Eintou Springer’s play Kambule, which re-enacts the 1881 Canboulay riots, transformed Piccadilly Street in East Port of Spain into a vibrant cultural theatre. By 2.15 am, hundreds of people had filled the stands, well before the 4 am start time on February 28.

Those unable to find seating spilled out onto the roadway, eager to witness the pre-dawn event.

In attendance were President Christine Kangaloo, acting Prime Minister Stuart Young, Minister in the Ministry of National Security Keith Scotland and Foreign and Caricom Affairs Minister Dr Amery Browne.

Highlights from the play, performed by members of the Idakeda Group, included a dramatic scene where two jammettes argued over a man, nearly coming to blows. The altercation was halted by an elder who remarked that if they didn’t have a ring, they didn’t have a mister, a reference to Keisha Harris aka Lady Lava's popular song "Ring Finger," as the crowd cheered.

Another crowd favourite was the baby doll on the prowl, searching for the father of her child and leaving the doll she carried with a man to look after until the play’s end.

Atillah Springer, Eintou's daughter and one of the directors of the play, told Newsday the production holds deep significance for the communities in East Port of Spain. Despite the area’s strong cultural contribution to society, residents often face economic and social challenges, remaining marginalised.

“We still continue to observe this to this day. It is important to remind society these communities exist and deserve visibility, recognition and respect for their contributions to Carnival.”

Springer described the morning as emotional, expressing gratitude for the unwavering support from the residents. “Members of the community have been here since the technical rehearsals. There’s a sense, when you walk through the streets, of a community that is happy to be recognised.”

Springer emphasised the importance of using the production as a means to teach and preserve cultural bonds. She said significant time was spent discussing history, exploring various practices, and teaching the many young cast members about their Carnival roots.

“We talked about important topics such as sexual violence, which the Baby Dolls represent.”

Springer said, the play delves into the spirituality of the people involved in the uprising and their cultural philosophy.

“They didn’t act just out of passion. Their actions were driven by spiritual and cultural imperatives. They had a philosophy, way of thinking and way of life that was essential to their resistance against oppression.”

Springer explained the performance illustrated how, even amid colonial oppression, beauty and creativity emerged, giving rise to lasting cultural icons. She stressed the power of education through performance, as it combines entertainment with learning, offering young people the opportunity to experience and feel their culture.

“This play gives them the opportunity to experience our culture firsthand.”

Regarding the logistical challenges, Springer said producing the play requires more than just artistic skills: it demands significant emotional and physical effort. Springer She acknowledged the "significant support" the production receives from the National Carnival Commission (NCC).

“Theatre is not always recognised as an important part of Carnival, but the support from the NCC has been crucial in allowing us to continue this work.”

She concluded by discussing the growing need for a larger space to accommodate the production, which has outgrown its previous venues.

“In 2009, we outgrew our previous space. Every year, more and more people come and we’re looking for a bigger space to host the production while keeping it within the East Port of Spain area.”

Six-year-old Chelsea Roach told Newsday she enjoyed the play and particularly liked the singing, dancing and chanting. She hopes to one day act in the play.

Trinidad-born American Star Atherley said it was her first time seeing the play, describing the experience as amazing.

Atherley, who lives in New York, expressed a sense of pride in TT's culture: “You wake up and you’re so excited to get out there and witness the greatness of it.”

Asked about her advice for tourists who might be fearful of the crime situation, she reassured them, saying, “Carnival is the safest time. Come and have a great time. Our land is filled with festive music and great fetes.”

Shakira Phillip, who has seen the re-enactment many times, described it as a euphoric experience. “It’s so uplifting to see how many people come out to enjoy it. I hope they continue doing this so children can understand where it all started.”

Phillip, who is part of a committee organising the first annual Kids J’Ouvert Experience for children on Nelson Street, said that event will cater to babies and teens up to 15 years.

Addressing the negative stigma often associated with Nelson Street, she said, “For too long, our children have not been given the opportunity to experience the real essence of Carnival, nor have they been taught the history of it.”

Phillip stressed the importance of teaching children about the historical significance of J’Ouvert and allowing them to experience it. This initiative, she hopes, will give children a deeper connection to the cultural heritage behind J’Ouvert.

The Canboulay riots were a series of disturbances in Trinidad during British colonial rule, sparked by efforts to restrict elements of the island's annual Carnival celebrations.

The riots erupted in Port of Spain, San Fernando and Princes Town as angry citizens clashed with the police, resulting in several deaths. These disturbances were rooted in the desire to preserve the cultural expression tied to Carnival.

Central to the Carnival celebrations was the "chantwell" (or "chantuelle"), a key figure in the festivities whose role was to lead crowds in song and chant. The chantwell can be seen as a precursor to the calypsonian, the iconic figure of Trinidadian music and a direct forerunner to the development of soca music.

The Canboulay riots highlighted the tension between colonial authority and local culture but also underscored the enduring significance of Carnival and its music in shaping the cultural identity of Trinidad.