Dominica Artists in Residence Programme works to revitalize traditional masquerade art

With a dedicated focus on preserving and enhancing the island’s traditional carnival art forms—such as Sensay (known as Sennsé in Dominican Kwéyol), Bann Movė, and Souswel Souwi—Anita Bully, the organizer of the Dominica Artists in Residence Program and Managing Director of KEK Creole, leads the charge in revitalizing Dominica’s masquerade heritage. Collaborating with Kaz Kweyol Productions Ltd and the Alwin Bully Foundation, the inaugural nine-day workshop is currently on the way at the Old Mill Cultural Centre.

The Artists in Residence Programme, which commenced on November 7, and is scheduled to conclude on November 16, 2023, is a collaborative effort with funding from the Creative Caribbean, managed by UNESCO, CARICOM, and the
University of the West Indies (UWI), supported by the ACP-EU. Addressing the opening of the event, Bully expressed concerns about the current state of traditional masquerade forms, particularly the sensay costume which according to her is being diluted by modern-day costumes. The workshop extends beyond costume creation and also seeks to rekindle the art of mask making that complements the sensay, ensuring a harmonious and culturally authentic expression.

Emphasizing the importance of understanding the origins of the costume, its components, and the significance of African masks, Bully says the evolution of sensay must be approached with caution, ensuring that modern versions still
preserve the tradition and maintain the integrity of the costumes. “…Our concern, however, is that right now we are seeing sensay costumes with Donald Trump’s face on it or Halloween faces, rubber masks,s and chapeau pie being used with sensay. You see a whole variation of stuff and we are losing our traditional art forms,” she voiced.

Bully notes that the evolving nature of sensay costumes, moving away from traditional wire masks to rubber masks, raises questions about the preservation of the real mas and the integrity of the art form adding that a significant concern is the lack of knowledge among young people regarding the tradition.

“But now what is happening is there is an evolution of the sensay but not a good evolution,” she declared. “If we say our carnival is what is called the real mas, we are losing the realness of our mas, if we are changing the art forms and losing it.”

She continued, “We need to know the difference between what is a sensay costume and what is a version of a sensay costume. We would like to see some version of the modern costume with some aspect of sensay in there but we must preserve that tradition.”

To address these challenges, the workshop director and her team have organized the nine-day event featuring leading experts in traditional masquerade from various countries, including Nelshan Phillips from Trinidad & Tobago, Jean Luke Toussaint and Vannessa Guye from Martinique, and Big Chef Dow Edwards from New Orleans, along with local experts in mask and costume building. The workshop aims to facilitate the transfer of knowledge and skills in mask-making, costume-building, and design techniques, focusing on practical solutions for building authentic masquerade forms.

By exposing the participants to alternative materials and innovative ways to incorporate traditional forms into the modern carnival space, Bully seeks to empower costume makers and carnival stakeholders to better monetize these
forms for the benefit of Dominica’s cultural heritage. Meanwhile, Daryl Phillip, the activity coordinator, stressed the importance of producing full and authentic sensay costumes during the workshop. He notes that, for some older participants in carnival, the contemporary costumes resemble what is known as “meg sensay”—a term reflecting a departure from the wider, fuller costumes of yesteryears.

At the conclusion of the workshop, he aims to recapture the essence of traditional sensay by producing fuller samples that harken back to the authentic form which will be displayed at the Old Mill Cultural Center and loaned out for Carnival and other cultural activities.

Recognizing the crucial role of the younger generation in preserving tradition, the workshop has invited 13 different groups from around Dominica. Each group was required to send one senior sensay builder and one youth, considered the seeds for the continuation of the sensay tradition.

Lauding this initiative, Acting Chief Cultural Officer, Earlson Matthew expressed appreciation for the dedication and commitment showcased in the endeavor to revive and preserve Dominica’s cultural roots. Matthew extolled the significance of the workshop, recognizing it as a pivotal step toward safeguarding the authenticity of traditional masquerade forms. He emphasized the importance of such grassroots initiatives in ensuring that the legacy of the masquerade art remains unblemished, echoing through generations to come.

The Acting Chief Cultural Officer is optimistic about the workshop’s potential to inspire a renewed appreciation for the cultural nuances embedded in artform. He highlighted the importance of engaging the youth in such initiatives, as they play a pivotal role in carrying forward the legacy and ensuring the continuity of traditions that define the island’s identity.