The Festivals of Kemet as Carnivals
Kimani Nehusi, coeditor
with Ian Isidore Smart of the book, Ah
Come Back Home: Perspectives on the Trinidad and Tobago Carnival, is one
the first scholars to spell out the similarities between the street scenes of
the ancient Egyptian festivals and those of our Carnival. Nehusi asserts:
Processions dominated
the actual ceremonies [of the festivals in Kemet]. Special processional routes
were built in some instances. The images of gods and goddesses were carried to
song, music, and dancing; as were shrines, votive offerings, various royal,
religious, regional, and other standards and emblems, as well as signs and
figures representing significant ideas and concepts, provinces, towns, and
divinities. Trumpets (known as Snbw),
sistra (rattles, or even
“shack-shacks”), tambourines, a barrel shaped drum called by the onomatopoeic
name kmkm, and wooden clappers were
popular in processions. So too was hand clapping. The Kemites were the first
people in the world to recognize and exploit the suitability of these
instruments for military and processional purposes. Priests, many of whom were
dressed in panther skins and some of whom wore animal masks, officials, some of
whom acted as marshals, and ordinary people also participted.
It must be noted here in
passing that people did not only play the particular masks they wore but that
some of these festivals involved mystery plays in which different parts were played by different characters. . . .
The color, gaiety, spontaneity, and power of these festivals made them
irresistible and alone would have guaranteed their immense popularity. (82-83)
Nehusi paints a vivid
picture of the festivals of Kemet on the basis of his knowledge of history.
Achebe, in the Egwugwu scene which was discussed in the preceding section,
paints an even more vivid picture of a festival of Igboland. There are so many
elements in both accounts with which those of us who have experienced the
Trinidad and Tobago Carnival can fully relate.
TO BE CONTINUED
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