JONKANOO, NEW ORLEANS INDIANS, & MUMMERS COSTUME TRADITIONS

JONKANOO, NEW ORLEANS INDIANS, & MUMMERS COSTUME TRADITIONS

The purpose of this page to present videos that showcase the similarities between the costume traditions of the Jonkanoo, New Orleans Mardi Gras Indians, and Philadelphia Mummers. Information and videos of the Caribbean Gombey traditions, the South African Kaapse Klopse (also known as Cape Town Coon Carnival), and what I believe to be source traditions (from Europe, Africa, and North American Indians) are also briefly presented in this post.

It's my position that the Caribbean custom of Jonkanoo (also given as John Canoe and Junkanu), the New Orleans Madri Gras Indians, and the related masquerade tradition of Gombeys have their source in European mummers & African masquerade traditions. I also believe that the New Orleans Mardi Gras Indian traditions have been influenced by Native American traditions.

Brief histories about Jonkanoo, New Orleans Indians, and the Philadelphia Mummers are also provided on this page.

This page is not meant to be a comprehensive study of the similarities between the Jonkanoo, New Orleans Indians, and Mummers costume traditions.

This page was previously published on jambalayah's sister website http://www.cocojams.com

All material on this page is presented for its sociological, folkloric, historical, aesthetic, and entertainment value.

Videos Sources

All of the videos on this page are from http://www.youtube.com/

Please note that links to YouTube videos or to other online resources may not remain viable. Also, please be aware that comments posted on YouTube viewer comments threads may not be suitable for children or otherwise may not meet the standards of Cocojams.com

Presentation of Videos

Videos are posted under the category of their masquerade tradition.

Most of these videos are presented with little or no comment or analysis. Hyperlinks may be provided for additional video examples, information, and/or comments, Cocojams.com is not responsible for the content or availability of websites other than Cocojams pages and its sister website http://www.jambalayah.com

Acknowledgements & Thanks

Thanks to all those who uploaded videos that are featured on this page. Also thanks to those commenters to those videos whose comments are quoted on this page.

Special thanks to the authors of the books and the editors of blogs from which quotes are taken.

An abbreviated version of this post is presented at http://pancocojams.blogspot.com/2012/02/jonkanoo-gombey-new-orleans-indi...
Jonkanoo, Gombey, New Orleans Indians, & The Philadelphia Mummers Costume Traditions

That same page is also crossposted on Cocojams.com.

Contact Information

Please send any corrections, additions, or other comments about the quotes from these resources to cocojams17@yahoo.com

Also send any links to videos of traditional African dances or dance forms for possible posting on this page. Thanks!

Your email address is never posted or shared.

Or, if you are on facebook, visit me at cocojams jambalayah, and befriend me or send me a private message.

Thanks to all those who send in links to videos & information!

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Ms. Azizi Powell,
Pittsburgh, Pennsylvania

last revision on 2/18/2012

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History Of Jonkanoo

Editor: These comments focus on Jonkanoo costumes in the Caribbean. For information about John Canoe customs & costumes during the 19th century in North Carolina, USA click http://en.wikipedia.org/wiki/Jonkonnu_parades

That Wikipedia page also has information about different theories about the origin & meaning of the name "Jonkanoo"; "John Canoe". Personally, I think the most commonly given explanation that John Canoe was the name of a beloved West African chief is fakelore.

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From http://www.my-bahamas-travel.com/bahamasjunkanoo.html

The original Junkanoo is the strongest remaining African tradition in the Bahamas. In the times of slavery, Christmas time was the only free time the slaves had, so they used this time for celebration.

The parades are characterized by spectacular costumes made of crepe paper and masks consist of colored cloth and leather. The stilt dancers, street dancers, clowns and acrobatic dancers are accompanied by powerful rhythms beaten traditionally on goatskin drums, cowbells, bugles, horns, whistles and conch shells.

The Junkanoo parades are performed by groups with names like The Saxons, The Music Maker, The Valley Boys, One Family, The Roots and many more. The groups are judged in categories for best costume, best music and best theme...

The Junkanoo parade in Nassau, Bahamas is the most famous one but there also similar festivals of music, costumes and dances in other Caribbean areas like the Jonkonnu in Jamaica, the Jankunu in Belize or the John Canoe in North Carolina, USA.

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http://hitchcock.itc.virginia.edu/Slavery/details.php?categorynum=12&cat...

[Image of] John Canoe (Jonkonnu, JonKanoo) Costume, Jamaica, 1838

Source:
Isaac Mendes Belisario, Sketches of character, in illustration of the habits, occupation, and costume of the Negro population, in the island of Jamaica: drawn after nature, and in lithography (Kingston, Jamaica: published by the artist, at his residence, 1837-1838).

An excerpt of the description of this lithograph follows:
"Captioned "Koo, Koo, or Actor Boy," this lithograph depicts an elaborately costumed and masked male dancer surrounded by on-lookers and musicians; he carries a whip and fan, the former used for clearing his path, the latter for cooling himself when his mask is lifted (see image Belisario03, for another "Actor Boy" unmasked). Belisario gives a detailed description of "John-Canoe" festivities and also speculates on the origin of the name. With respect to this illustration, he writes the "band consists of drums and fifes only, to which music the Actor stalks most majestically, oftentimes stopping to afford the by-standers a fair opportunity of gazing at him . . . .The foundation [of his headdress] is an old hat, affording the wearer the means of sustaining the superstructure, to which it is firmly attached, and composed of various colored beads, bugles, spangles, pieces of looking-glass, tinsel, etc. attached to a pasteboard form trimmed round the edges with silver lace, surmounted with feathers. The garments are of muslin, silk, satin, and ribbons." This illustration, as well as others of "John-Canoes," were drawn from life by Belisario in 1836.

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From http://www.guidetocaribbeanvacations.com/photo_gallery/bahamas/photopage...

"The costume is based on a particular group's theme. Once the theme has been decided upon--not always an easy task--designers create patterns on cardboard that form the basis for a group's costumes.

Once the pattern is complete, hundreds of brilliantly colored layers of fringed crepe paper have to be pasted to it. It's this fringe effect that provides texture and dimension to the elaborate costumes."

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Excerpt from http://www.jamaicamix.com/JamaicaCultureAndHeritage/JamaicanTraditionalD... Jonkunnu (John Canoe) Jamaican Traditional dance

The following costume descriptions are for just three of a number of characters listed on this website. Note the description for Wild Indian. It's interesting to remember that "Wild Indian" was also/is a referent for the New Orleans Mardi Gras Indians. I'd love to know whether there is any documentation of the Jamaican Wild Indian character prior to any documentation of the New Orleans Wild Indians.

The House Jonkunnu
The House Jonkunnu of the past wore a frightful mask and carried on his head a huge, elaborate house filled with puppets. The specific nature of the house carried by this figure attests to the origin of Jonkunnu.

The house was a replica of the architecture of the Great Houses, found in the Pre-emancipation era, which were symbolic of power, privilege and on the other hand, oppression - all plantation-Creole characteristics. This character is also called Jawbone Jonkunnu, which referred to an instrument accompanying him that consisted of the dried lower jaw of a horse. The teeth were made to produce a rattling sound by passing a piece of wood up and down its surface. Today, this character is known as Houseboat but his facemask is not as ghastly as it was in times past.

Pitchy-Patchy
Perhaps the most popular Jonkunnu character today is Pitchy-Patchy. He is dressed in shredded strips of cloth bearing bright colours. He appears in a square hat or a feathered cap adorned with tinsel and mirrors. Cultural Consultant, Cheryl Ryman describes this figure as "a ghost from the past" - becoming all things to all people - ever changing, ever constant - wearing multi coloured attire yet changing his headdress on different occasions He often runs in and out of the crowd of spectators sometimes confronting them with a loud growl. According to oral tradition, Pitchy-Patchy's costume is the same vegetal type that was used by the Maroons as camouflage during warfare.

Wild Indian
Wild Indian carries a tall cane and crossbow. He wears a black braid and a headdress with feathers arranged vertically. Playing cards, Christmas ornaments, newspaper clippings of food advertisements, pieces of glass and mirrors cover the headdress. He also wears a foil-covered heart on his chest and strands of beads. The presence of Wild Indian in Jonkunnu masquerade may be symbolic of homage to the lost Indian population in many Caribbean countries.

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History of The Mardi Gras Indians
from http://en.wikipedia.org/wiki/Mardi_Gras_Indians

Mardi Gras Indians are African-American Carnival revelers in New Orleans, Louisiana, who dress up for Mardi Gras in suits influenced by Native American ceremonial apparel.

Collectively, their organizations are called "tribes". Many of the tribes also parade on the Sunday nearest to Saint Joseph's Day on March 19 ("Super Sunday") and sometimes at the annual New Orleans Jazz & Heritage Festival.

There are about 38 tribes. They range in size from a half dozen to several dozen members. The tribes are largely independent, but a pair of umbrella organizations loosely coordinate the Uptown Indians and the Downtown Indians.

-snip-

from "A Short History Of Mardi Gras Indians" by Willie W. Clark Jr. (11-16-1999) http://www.mardigrasdigest.com/Sec_mgind/history.htm :

The Black Mardi Gras Indians of New Orleans are a unique sub-culture of a highly diverse and complex group of the local population . The tradition of these masking Indians, dates back to the 1700's. The scholars that claim to know the origins of the Mardi Gras Indians (a two hundred year old tradition) sometimes conflict on the precise history. As a result of this lack of a solid path in the knowledge of Indian history, many theories abound, but this much is for certain, the Indians have preserved some of their culture and history in the guise of tradition, and that tradition at the time of Mardi Gras, is now an integral part of New Orleans. In the heart of New Orleans since the 1780's and perhaps earlier, this ancient colorful and artistic culture has been practiced.

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History of the Philadelphia Mummers
from http://www.phillymummers.com/history.htm:

To define them simply, Mummers are costumed entertainers welcoming in the New Year. Some of the earliest mummers date back to early Egypt, pagan Rome and Greece, England, Germany, and France. Historically, Mummery has influenced customs and perpetuated many interesting traditions. Every nation had its festivals at one time or another, each marked by parades and displays of fanciful costumes. All of these cultures passed along their traditions from generation to generation, and eventually these traditions were brought to America by immigrants.

The Philadelphia Tradition
The tradition of Philadelphia Mummery started in the late 17th century as a continuation of the Old World customs of ushering in the New Year. Mummery in America is as unique to Philadelphia as Mardi Gras is to New Orleans. For example, the Swedes were Philadelphia's first settlers. When they came to Tinicum, just outside of Philadelphia, they brought their custom of visiting friends on "Second Day Christmas", December 26. Later they extended their period of celebration to include New Year's Day, and welcomed the New Year with masquerades and parades of noisy revelers. Most people carried firearms for protection in those early days of the Commonwealth of Pennsylvania, and it did not take long before pistols and muskets joined with bells and noisemakers to create the sound of a New Year. Those who "shot in" the New Year became New Year's Shooters, and thus the name much later evolved to officially become the New Year's Shooters and Mummers Association. Groups would travel from house to house, sing songs, and perform dances -- all to be rewarded with food and drink.

By the 1870's, what had been an uncoordinated group of neighborhood celebrations turned into an area-wide parade with two main groups of participants: Fancy Dress and Comic clubs. The City of Philadelphia finally sponsored and organized the first official Mummers Parade on January 1, 1901

-snip-

From: http://en.wikipedia.org/wiki/Mummers_Parade

The Mummers Parade is an American event held each New Year's Day in Philadelphia, Pennsylvania. It is thought to be the oldest folk festival in the United States....

The wearing of blackface paint was once a traditional part of the parade. Growing dissent from civil-rights groups and the offense of the black community led to most clubs phasing out blackface in the early 1960s. A 1964 city policy officially ruled out blackface but some still appears in the parade.

-snip-

Click http://en.wikipedia.org/wiki/Mummers_Play for information about European originated Mummers plays. Additional information and sample videos of Mummers plays are found below.

Additional Information About Mardi Gras Indian Costumes

from http://www.houstonculture.org/cr/indians.html "Indians Comin': Big Chief Got A Golden Crown"

The Mardi Gras Indians emerged in the late 1800s playing Afro-Caribbean rhythms and wearing costumes made of beads and feathers which were modeled after Native American ceremonial dress. Their traditional music is played with congas, tambourines and belled wrist and ankle bands.

The distinction of rhythms, which were once more specific to tribal practices in different regions of Africa, were somewhat blurred by the turn of the century. But the preservation of the intricate rhythms was critical to the development of jazz and funk...

The main purpose of the bright, feathered costumes, some weighing over 100 pounds, may have been to compete with "tribes" in other neighborhoods, to suit the spirit of the celebration and to identify with the look of the well-established Carnival events in mostly Black Caribbean communities, such as Trinidad.

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from http://www.louisianafolklife.org/LT/Virtual_Books/Keeping_It/creole_book... Charles Taylor and Traynell Mitchell; Mardi Gras Indian Costume Making
New Orleans, Orleans Parish
This profile draws upon the apprenticeship site visit interview by Bob Gates, 1988 and the apprenticeship grant application.

Members of Zulu mask in African stereotypes, wearing grass skirts, and throwing spears and coconuts from elaborate parade floats, while the Mardi Gras Indians celebrate by marching and dancing on foot, to the accompaniment of strong drum rhythms and other easily carried instruments and their own singing and chanting. The Indian groups also wear elaborate bead and feather costumes that combine native African style with the ceremonial dress of the traditional Native Americans. New costumes are made every year. Although some parts may be recycled, other parts are made new...

The art of sewing Indian costumes, as well as accompanying cultural tradition was passed on to Charles [Taylor, in 1985 Chief of White Cloud Hunters] by his uncle, who undoubtedly devoted many painstaking hours towards teaching the intricate and detailed craft. This art is complicated and involves special tools and special knowledge which can only be taught by someone who has been involved in the tradition for many years. Now the tradition is continued as Charles passes his knowledge to other apprentices...

In the early 1980s [Traynell Mitchell] became a member of the White Cloud Hunters and during her apprenticeship period, served as Big Queen of that tribe. In that position, she must create a new and unique suit each year. The Chief, Charles, assists her in the design which will match his own costume. Traynell is proud that her own daughter is showing an interest in this tradition and hopes to teach her some day.

-snip-

from http://www.cocojams.com/content/text-analysis-iko-iko , comment #3, regarding a line in the popular New Orleans Mardi Gras Indian song "Iko Iko"
"The "fix yo' chicken wiyo" line elsewhere in the song is a threat to damage a person's chicken wire, which is the foundation on which many of the Mardi Gras costumes are built and is in keeping with the general theme of rivalry between the various Mardi Gras "tribes".
-NOLA/NYC; email to Cocojams on 4/3/2006 and other subsequent emails to Azizi Powell, Founder/Editor of Cocojams.com.

SELECTED VIDEOS
Videos Of Focus Traditions: Jonkanoo, Mardi Gras Indians, and Philadelphia Mummers

Jonkanoo

Valley Boyz - 2010 New Years Junkanoo Parade Pt.1

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One Family New Years Day Junkanoo 2010

Uploaded by hugomanager on Jan 2, 2010

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Junkanoo Festival 2011 (Jan. 1, 2011)

Uploaded by sunstar72002 on Jan 2, 2011

Junkanoo is a street parade with music, which occurs in many towns across The Bahamas and The Turks and Caicos Islands every Boxing Day (December 26), New Year's Day and, more recently, in the summer on the island of Grand Bahama. The word "Junkanoo" derived from an African slave master and trader named "John Canoe" in the 17th century. These slaves were not allowed much freedom and would hide in the bushes when they had the chance. While in the bushes, they would dance and make music while covered in costumes that they made from various paints that they made and leaves that they found. This festival represented the slave's freedom from slavery.

Source: en.wikipedia.org/wiki/Junkanoo

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http://www.youtube.com/watch?v=s-_3wUvDlJM&feature=player_embedded [embedding not allowed] Uploaded by haldar1965 on Jan 28, 2010

Uploader's summary statement:
"Jonkonnu, or Jonkanoo (John Canoe) is parade that links music, dance, symbols and mime. It is a Jamaican traditional dance form of African descent. Typically Jamaicans would parade in the streets and enact mime-style plays. This folk form has gone through many stages of development until today when it is rarely performed on the island. In the early stages there was the introduction and adaptation of the celebratory parade, then in the 1770s the European influence developed (set girls); after emancipation the British influence was more obvious. Today, Jonkonnu is only seen at cultural fairs and in very rural parts of the island.

The Jonkonnu festival is secular in nature and used to be performed at Christmas. It was the festive opportunity afforded to the slaves by the planter class, Christmas was one of the few times that slaves were relieved of their duties.

The Characters : Core participants; Pitchy patchy, The cowhead, The horsehead, The devil,

Other participants The King, The Queen, The police, Belly woman, French set girls

The characters parade through the streets in very elaborate costumes; they are attired costumed with head dresses, masks, pitchforks (devil), batons (police), fans (set girls) and any other paraphernalia that is necessary to complete the character.

There are basic jonkonnu steps that are done and each character has a signature movement such as:

Pitchy Patchy turns, cartwheels, large movements in circular patterns.

Belly woman - moves belly in time with the music."

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Roots New Years Day Junkanoo 2010

Uploaded by hugomanager on Jan 6, 2010

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Mardi Gras Indians

Black Indians of New Orleans

Posted by DementedBCecil; June 10, 2008

This video is the first part of a program that aired on television (date unknown; information from a viewer comment). I don't believe that the second part has been posted on YouTube yet.

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Flags Feathers and Lies Documentary, Mardi Gras Indian, New Orleans, Trailer 2010

Uploaded by flagsfeathersandlies on Jul 23, 2010

FlagsFeathersAndLies.CimerronCinema.com - Winner of the Festival Jury Prize at the 2010 Langston Hughes African-American Film Festival, Flags, Feathers, and Lies is a passionate and provocative look at the Mardi Gras Indians of New Orleans -- in all their rich, resplendent, and rhythmic glory -- in terms of how they and the community they love have survived the twin disasters of Hurricane Katrina and government neglect.

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Mardi Gras Indians Down In New Orleans

Uploaded by franknette on Jan 4, 2010

Mardi Gras Indians play various traditional roles. These include the "chief", the "spy boy" who goes out in front of the group, the "flag boy" who bears the tribe's standard and uses it to communicate between the chief and the spy boy, and the "medicine man". The Wild Man wearing the horns to keep the crowd open and clear. 1st Chief, is Big Chief; First Queen; Second Chief and Second Queen; Third Chief and Third Queen. First, Second, and Third chiefs are supposed to have a queen with them. That's just tradition...fourth chief he's the Trail Chief. From there on it's just Indians, no title for the rest of the tribe.

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Mardi Gras Indians photo collage and commentary

Uploaded by remib1973 on Mar 25, 2009

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Super Sunday - New Orleans' Mardi Gras Indians Parade Part 1 by Michal Flisiuk.

Uploaded by worekzadek on Mar 18, 2011

The most significant day for the Mardi Gras Indians is St. Joseph's Day. Around sundown on this day, the Mardi Gras Indians once again dress in their feathers and suits and take to the streets to meet other "gangs."
Also, the Mardi Gras Indian Council and Tambourine and Fan organization
put on an annual "Super Sunday" parade on the Sunday closest to St. Joseph's Day.

-snip-

From http://www.mardigrasneworleans.com/supersunday.html:

Mardi Gras Indians Super Sunday around St. Joseph's Day

This year, Super Sunday falls on Sunday, March 18

Aside from Mardi Gras day, the most significant day for the Mardi Gras Indians is their Super Sunday. The New Orleans Mardi Gras Indian Council always has their Indian Sunday on the third Sunday of March, around St. Joseph's Day. Their festivities begin at Noon in A.L.Davis Park (at Washington & LaSalle Streets) where the Mardi Gras Indians once again dress in their feathers and suits and take to the streets to meet other "gangs."

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Who are the New Orleans Mardi Gras Indians?

Uploaded by fvalabrega on Apr 10, 2010

I spent three months in New Orleans to work on several photography projects, but among the million things I was attracted to were the Mardi Gras Indians. I took photos of them, but I thought a video would be more appropriate because it would provide the viewer with more than just still--the voices of such secular tradition are to be heard to be believed. The Mardi Gras Indian culture and the effort put behind keeping the masking tradition alive is beyond fascinating. The intricacies and secrecy of the uptown and downtown tribes with their different tribal dances and chants are nothing I have ever been exposed to before ( we don't have anything similar in Italy).
I am coming back to cover these black Indians again next year for sure!

-snip-

Click http://www.cocojams.com/content/mardi-gras-indian-songs-chants for additonal videos of Mardi Gras Indians.

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Philadelphia Mummers' Parade

Mummers parade- 1929

Uploaded by thelonearranger1 on Jan 5, 2011

These are clips from the Fancy and comic divisions

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Mummers 1956

Uploaded by vidbot on Jun 4, 2009

Mummers Parade, New Years Day 1956, South Broad St. between Tasker and Morris Sts. Poor quality from 8mm film.

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Ferko String Band 1989- At The Strutters Ball

Uploaded by 69mets86 on May 22, 2008

4th prize

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Polish American 1999 - Ragtime

Uploaded by 69mets86 on Jan 29, 2011

5th Prize

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2008 Mummers Golden Sunrise Fancy

Uploaded by WPHL on Jan 18, 2008

2008 Mummers Parade coverage of the Golden Sunrise Fancy Division

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2010 Festival in Flight (Golden Crown Fancy Brigade)

Uploaded by nicolerobles on Jan 7, 2010

Golden Crown Fancy Brigades performance for the 2010 Mummers Parade in celebration of New Years Day in Philadelphia, PA.

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VIDEOS OF OTHER MASQUERADE OR PARADE TRADITIONS

Bermuda Gombeys

Uploaded by aklathan on Sep 28, 2011

This feature length film captures and documents the ongoing history of the Bermuda Gombeys, one of Bermuda's oldest Folklife traditions. Running 88 minutes in total it was designed to supplement Bermuda's education system; its narrative chapters split into detailed sections covering every aspect of the Gombey culture, instruments, dance, costumes, training, history and traditions.

A Special Edition version was released in 2010 with subtitle options included and Bonus Features accessible from the DVD menu.

Synopsis: Historically, the Gombeys were not viewed as a respectable art form by the island's ruling class. Slaves were allowed to dance only once a year and did so in masks in order to protest, without fear of retribution, the injustices done them by their slave masters. Incorporating elements of African, Native American, Caribbean and British cultures the Gombeys have evolved into the colorful, uniquely Bermudian art form beloved by locals and tourists alike. From archival texts and insights of our foremost historians to the memories of the oldest living Gombey Masters, from the hearts and minds of today's Captains to the youngest Gombeys carrying the tradition into the future;...

Behind the Mask explores the past, the present and the future of this proud and resilient heritage, and is a celebration of all these exceptional Bermudian tradition-bearers.
For more information on Bermuda culture, heritage and the Bermuda Gombeys, and to purchase the film visit the website of The Department of Community and Cultural Affairs Bermuda.
http://www.communityandculture.bm/behind_the_masks

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Bermuda Gombeys as seen on LookBermuda.TV (Bermuda)

Uploaded by LookBermudaTV on Feb 6, 2007
Bermuda Gombeys as seen on LookBermuda.TV channel 1

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Gombeys Dancing in Bermuda 2 (Bermuda)

Uploaded by bermudarider on Jan 24, 2008

These Gombeys are dancing on Front Street In Bermuda, Gombeys are native to Bermuda and use drums, whistles and other simple instruments to make the dancing music.

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Kaapse Klopse (also known as Cape Town Coon Carnival)

Cape Town Coon Carnival 2008

Uploaded by mpo70 on Jan 5, 2008

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Cape Town 2011 New Year Coon Carnival

Uploaded by ctnnvk on Jan 2, 2011

Traditional annual Cape Town New Year street carnival hosted by colourful vibrant big band groups accompanied by dancing troops parading down streets of city, entertaining locals & tourists to a spectacular energetic display.

Editor:

From http://en.wikipedia.org/wiki/Kaapse_Klopse

Kaapse Klopse (or simply Klopse) is a minstrel festival that takes place annually on January 2, in Cape Town, South Africa. As many as 13,000 minstrels take to the streets garbed in bright colours, either carrying colourful umbrellas or playing an array of musical instruments. The minstrels are grouped into klopse ("clubs" in Cape Dutch, but more accurately translated as troupes in English). Participants are typically from Afrikaans-speaking working class "coloured" families who have preserved the custom since the mid-19th century.

Although it is called the Coon Carnival by Capetonians, local authorities have renamed the festival the Cape Town Minstrel Carnival as foreign tourists find the term "coon" derogatory.

-snip-

Notice the similarities between the styles of dancing and strutting and that of the other traditions that are featured on this page. The origin of this carnival is said to either have been from African American minstrels visiting & performing in Cape Town, South Africa or from White American blackfaced minstrels visiting & performing in South Africa.

PROBABLE SOURCES

Editor: It seems to me that the following traditions are probable sources for each of the masking customs that have been discussed on this page:

Mummers In Europe

Mummers & Masks

Uploaded by Ashland100 on Jul 6, 2007

MUMMERS AND MASKS is a one hour documentary Christmas Special that explores the ancient, wild, wonderful, pagan Christmas of mummers. A fascinating tradition that still survives in the old world and the new. The Christmas behind the Christmas we know.

The story of mummers is the story of masks. The cult of disguise. There are some who argue that the custom dates back to Roman Saturnalia, others believe it goes all the way back to the cave! Certainly, the concealment of one's indentity behind a mask speaks to the wildest and most ancient blood in our being. Mummering has survived in Newfoundland for five centuries. In 1861, mummering was officially banned. Yet even now in the smaller outport communities, nobody worries about a bit of mud on the carpet, and men still disguise themselves as women and women disguise themselves as men, and tramp from house to house, dancing and drinking and acting the fool. In St. John's, mummers gate-crash house parties and perform a revival of an ancient mummers play. With swordfights and much mayhem, it was common right across Newfoundland up until mummering was outlawed.

MUMMERS AND MASKS traces the root of these ancient mid-winter customs, that came over to the New World with the first settlers, back to their source. In County Fermanagh, Ulster, mummers perform an ancient community drama with striking similarities to the Newfoundland revival. The Ulster mummers conceal themselves from head-to-toe in woven straw. In the 1970's, the practice of mummers roaming the country and invading houses wearing masks, virtually disappeared as sectarian violence took root. Today, however, the Christmas mummers are seen as helping to heal the sectarian strife which has torn apart communities. In Dingle, in southern Ireland, the mummers are known as wren boys, and once upon a time cavorted around with a dead wren tied to a holly branch. The root of mumming is all about fertility and assisting the re-birth of the sun. In Minehead, England, the local hobby horse (a close relative to the hobby horse that came over with Sir Humphrey Gilbert when he planted the British flag in St. John's in 1583) not only assists with the fertility of the land, it is also called upon to assist with the fertility of humans. We are talking sex!

Filmed in a lively verite style, incorporating rare archival footage, MUMMERS AND MASKS revels in all the raucous fun and music to be found in Newfoundland, in Ireland and England over the 12 days of Christmas, and also in Philadelphia, where our cameras filmed 10,000 mummers parading through the streets on New Year's Day, in a garish, gaudy, Superbowl-style Mummers extravaganza. Tracing the very DNA of human community entertainment at Christmastime; our guides are the colourful practitioners themselves: the storytellers, musicians and mummers behind the masks.

This video is available for purchase at www.titlehousedistribution.com or www.amazon.com.

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Mummers, Masks and Mischief

Uploaded by FeenishProductions on Oct 4, 2010

For inquiries, or to purchase a high quality DVD of this film contact Mummers representative, jim.ledwith@btconnect.com

Mumming is an age old tradition of folk drama, which has been practiced in various guises throughout Ireland, England and all over the world for hundreds of years.
This 25 minute documentary features The Aughakillymaude Mummers of county Fermanagh in Ireland, and follows them to street performances, wedding rituals, mountain top bonfires and even all the way to Bulgaria!

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Mummers on the piste in rural England

Uploaded by pubwalking on Dec 19, 2010

-snip-

Click http://www.youtube.com/watch?v=gK025XIpA8A Marshfield Mummers for a video of an example of a Mummers Play in Great Britain

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Masking Traditions in Nigeria

Special Igbo Cultural Dance (Nigeria)

Uploaded by omacdo on Jan 28, 2009

"Wonderful performance by one of the Igbo cultural troupes. This one from Udi in Enugu State, Nigeria."

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Adamma Masquerade part2 (Nigeria)

Uploaded by afromann007 on Apr 20, 2008

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Egwu Ogene ndi Igbo (Nigeria)

Uploaded by afromann007 on Sep 4, 2008

This is Egwu Ogene ndi Enugwu

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Mmanwu Anumogoli Nibo (Nigeria)

Uploaded by anambrabc on May 4, 2009

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Native American Traditions

American Indian Chant -Lakota Round Dance Song

Digitalreelz | January 06, 2008
Filmed in Abq, New Mexico

Editor: The video uploader referred to this as a chant, but nachise51. a commenter corrects this video's title writing, "Folks, this is not a "chant", it's a good, old-fashioned round dance song, and round dance songs are usually love songs. Nothing mystical, just good human stuff for social dances."

-snip-

Click http://www.wordiq.com/definition/Ghost_Dance for information about the Ghost Dance.

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Old Style War Dance - American Indian Arts Celebration, 2008

Uploaded by unknownhf on Nov 12, 2008

Great Plains Indian Dancers, 2008 AIAC at the Seminole Big Cypress Reservation

Editor: Some commenters took issue with this being described as a "war dance".

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Comanche Buffalo Dance

Uploaded by missscd34 on Jun 5, 2009

Comanche Buffalo dance performed by Moses Littlebear and son at the Tiger Mountain Ranchon June 4, 2009 for the Cross Timbers RC&D annual cookout and meeting.

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Native American Dance (Stanford Powwow-Men, 2008-05-11)

Uploaded by PanoramaSplash on Jul 11, 2008

Dancers from the junior, teen, and adult age divisions perform a Native American dance in the men's exhibition category at the 37th annual Stanford Powwow.

(At Eucalyptus Grove, Stanford University, Palo Alto, CA on 2008-05-11)

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ADDITIONAL THOUGHTS
It occurred to me that the minstrel traditions, as depicted by the Cape Town minstrels (who were influenced by black faced minstrels from the USA), and other minstrels remind me of Circle Clowns. I'm specifically referring to the multi-colored bright costumes, umbrellas, painted faces, and wigs-particularly the wide fuzzy wigs of the Cape Town Minstrel Carnival. Notice the similarities between that South African tradition and this clown parade:

Let's Go To The Circus!- The Circus On Parade

Uploaded by 49Ches on Mar 7, 2011

Watch the opening parade of the Ringling Bros. and Barnum & Bailey circus.

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Disneyland Paris - Circus Parade (2001)

Uploaded by philipervm on Jan 17, 2011

Disneyland Paris - Circus Parade (2001)

Editor:

Here's an excerpt from http://www.shrineclowns.com/education/history.asp

"Throughout the Middle Ages and early Renaissance, jesters or fools perpetuated the art of clowning in the palaces of kings and great nobles. Jesters played an important role in the social culture of Medieval Europe by serving as "safety valves" or the "social conscience." The could answer back to kings, bishops, and all in authority. By making fun of anyone and satirizing social customs and more, jesters were often catalysts for social change.

It was also during this period that the colorful costumes associated with today's clowns had their beginnings. During this period, Jesters adopted a standard uniform of bright green and saffron colored coats, hose and a hooded cap which was topped by tiny bells designed to tinkle whenever the wearer moved.

Although many clowns entertained at court, the vast majority continued to be street performers. They were adept at a variety of skills, such as magic, contortion, juggling, acrobatics, story telling, puppetry, tightrope walking, exhibiting trained animals, ballad singing, and clever dialogue.

"Zany," "jester,"fool," "minstrel," and "mime" are but a few of the historical synonyms for "clown." The English equivalent used today did not appear until the sixteenth century. "Clown" originally meant "clod" and was often used to denote a clumsy country bumpkin. These rustics were considered very funny, and comedic actors soon imitated their ways. These actors were called clowns....

By the end of the nineteenth century, the smaller tents of the one-ring show had given way to the "big-top" and the circus enjoyed a golden age. As the large, new, three-ring format evolved, clowns were presented with their greatest challenge yet. Spectacular movement, bright costumes, oversized props, loud explosives, and flamboyant makeup became essential ingredients in the clown's new formula for laughs. By 1907 when the Ringling brothers purchased another popular circus, Barnum & Bailey, the profession of clowning had reached one of its highest peaks..."

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