The Grand Mas: A Celebration of African Heritage Through Carnival and Fashion

The Caribbean is a melting pot of vibrant cultures, deeply influenced by the African diaspora. One of its most powerful cultural expressions is Grand Mas, also known as Carnival, Masquerade (Mas), or Fête. This festival, filled with music, dance, and elaborate costumes, traces its origins to West African traditions, European influences, and the resilience of enslaved Africans.

Today, SONSON’s new Grand Mas bow tie collection captures this history in a tangible, wearable form. By incorporating Ankara African fabric and the craftsmanship of Afro-Caribbean artisans, each bow tie pays tribute to the centuries-old traditions of Mas. This article explores the rich history of Grand Mas, its African connections, and how this collection honors its legacy.

The African Roots of Caribbean Carnival

Carnival in the Caribbean didn’t emerge in isolation—it is deeply rooted in the cultural practices of West Africa. Before being forcibly taken to the Americas, African peoples participated in ritual masquerades, often featuring masked dancers who embodied ancestral spirits, gods, or elements of nature. These performances were integral to rites of passage, religious ceremonies, and harvest celebrations.

Among the most significant influences were:

• Egungun Masquerade (Yoruba People, Nigeria & Benin): A festival where masked dancers represent spirits of the dead, blessing and protecting their communities.
• Ndomo & Komo Masks (Mali): Used by the Bamana people in initiation rites, these masks symbolized transformation and spiritual knowledge.
• Kumpo Masquerade (Senegal & The Gambia): A mystical tradition where masked figures dance to drumbeats, maintaining a link between the spiritual and physical world.

When enslaved Africans were brought to the Caribbean, these traditions did not disappear. Instead, they evolved into new forms, blending with European influences and surviving as acts of resistance.

From Enslavement to Emancipation: The Birth of Caribbean Carnival

During colonial rule, European settlers in the Caribbean—especially the French and Spanish—held extravagant masquerade balls and fêtes, which enslaved Africans were excluded from. In defiance, the enslaved adapted these European customs, incorporating drumming, dancing, and ancestral storytelling into their own secret celebrations.

One of the earliest forms of Caribbean Carnival was Canboulay (from "cannes brûlées," meaning "burnt cane"), which originated in Trinidad. This event commemorated the nights when enslaved Africans were forced to extinguish burning sugarcane fields while their oppressors watched. After Emancipation in the 1830s, formerly enslaved people turned Canboulay into a powerful celebration of freedom, resistance, and cultural pride.

As Carnival evolved, different islands developed their own unique expressions:

• Trinidad & Tobago: The birthplace of modern Caribbean Carnival, famous for J’ouvert, Soca music, and elaborate Mas bands.
• Haiti: Home to Rara, a Carnival tradition that blends African drumming, Vodou symbolism, and political resistance.
• Jamaica: Known for Junkanoo, a festival with roots in Ghanaian traditions, featuring vibrant costumes and hypnotic drum beats.
• Barbados: Hosts Crop Over, originally a celebration of the sugarcane harvest, now a massive cultural spectacle.
• Grenada: Hosts Spicemas, featuring Jab Jab—where revelers cover themselves in oil, mud, or paint to symbolize resistance to slavery.

These traditions spread to Brazil, New Orleans (Mardi Gras), and other parts of the African diaspora, creating a global phenomenon that is still evolving today.

Grand Mas: A Legacy of Joy and Resistance

Today, Grand Mas is more than just a festival—it is a cultural institution. It is a place where Caribbean people celebrate their ancestors, embrace their African roots, and assert their identity in the face of historical oppression. Mas is also a form of protest, where revelers use dance, costume, and music to challenge societal norms.

This is where SONSON’s Grand Mas collection enters the story. Just as Masquerade evolved from ancestral African traditions to modern Caribbean Carnival, this collection transforms cultural heritage into fashion that tells a story.

Each bow tie in this collection is inspired by a key element of Grand Mas, honoring both its African origins and Caribbean expressions.

How the Grand Mas Bow Tie Collection Pays Homage

Each bow tie in the Grand Mas Collection represents a significant element of Caribbean Carnival history. Here’s how:

1. Liming Bow Tie (Green with Black Lines) – The Art of Social Connection

• History: In the Caribbean, “liming” refers to casual social gatherings—a crucial part of Carnival culture. The tradition stems from African communal practices, where gathering in groups was a form of unity and resistance.
• Design: The green color symbolizes fertility, renewal, and the lush landscapes of the Caribbean, while black lines represent the unbreakable bonds between people.

2. Fete Bow Tie (Wild Abstract Colors with Black Base) – The Spirit of Celebration

• History: Derived from the French word for “party,” a Fête is an electrifying event where music, dance, and joy take center stage.
• Design: The abstract patterns reflect the energy of Caribbean nightlife, Soca music, and festival lights, capturing the essence of an unending celebration.

3. Jouvert Bow Tie (Yellow with Black Leaves) – The Dawn of Freedom

• History: Jouvert (Jour Ouvert) means “daybreak” in French Creole and marks the start of Carnival, symbolizing liberation from oppression.
• Design: The yellow base represents the first light of morning, while the black leaves recall the shadows of the past, making this bow tie a wearable declaration of resilience.

4. Canboulay Bow Tie (Orange & Black Leaves) – Honoring the Struggles of the Past

• History: Canboulay was a pivotal event in the birth of Caribbean Carnival, symbolizing both pain and triumph.
• Design: The orange and black colors symbolize the flames of the sugar plantations and the unbreakable spirit of the people who fought back.

5. Mas Bow Tie (Black & White Print) – The Heart of Masquerade

• History: Mas (short for Masquerade) originates from African masked rituals, now central to Carnival.
• Design: The black-and-white pattern pays tribute to the contrasts of history—colonization and resistance, sorrow and celebration, oppression and freedom.

6. Bacchanal Bow Tie (Wild Abstract Colors with Brown Base) – The Madness of Carnival

• History: Bacchanal, named after Bacchus, the Roman god of wine and revelry, embodies the unapologetic joy and chaos of Carnival.
• Design: The wild colors reflect the explosion of music, movement, and emotion, while the brown base keeps it grounded in ancestral traditions.

Fashion as a Cultural Statement

The Grand Mas Collection is more than a bow tie line—it is a story of African heritage, Caribbean resilience, and the enduring power of culture. Through each fabric, stitch, and pattern, SONSON honors the ancestors who danced in secret, fought for their freedom, and turned their struggles into celebration.

When you wear a bow tie from this collection, you don’t just wear a fashion piece—you wear history, pride, and the heartbeat of the diaspora.

Wear the legacy. Celebrate the Grand Mas.

References:

 

1. Brereton, Bridget. A History of Modern Trinidad, 1783-1962. Kingston: Ian Randle Publishers, 1981.
2. Herskovits, Melville J. The Myth of the Negro Past. Beacon Press, 1990.
3. Mason, Peter. Bacchanal! The Carnival Culture of Trinidad. Temple University Press, 1998.
4. Discover Trinidad & Tobago, et al. “Trinidad Carnival: the Birth & Evolution.” Discover Trinidad & Tobago, 30 Apr. 2018, www.discovertnt.com/articles/Trinidad/The-Birth-Evolution-of-Trinidad-Carnival/109/3/32#axzz6S8NlfO8D.
5. Curley, Christopher. “How to Celebrate Carnival in the Caribbean.” TripSavvy, www.tripsavvy.com/brief-history-carnival-in-caribbean-1488004.

6. Ray Funk | Issue 108 (March/April 2011). “Rituals of Resistance: the Canboulay Riots Re-Enactment.” Caribbean Beat Magazine, 14 May 2020, www.caribbean-beat.com/issue-108/rituals-resistance#axzz6SEvneyI