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A Moko Jumbie (also known as Mocko Jumbie, Moko Jumbi, Moko Jumby, or Moko Zumbi) is a traditional Stilts or dancer associated with Caribbean Carnivals for over 200 years. Derived from traditions, Moko Jumbie cultural practices were introduced to the Caribbean island by enslaved Africans during the 19th century.
Moko Jumbie performers usually wear masks and costumes that blend African and European traditions. Their choreography often incorporates jumps and elements of masquerade. Traditionally, one or two Moko Jumbies would parade with a small band of musicians, often issuing blessings and warding off evil spirits. Moko Jumbies remain central to many Caribbean celebrations around the world, and now whole troupes of Moko Jumbies may march together.
From the 18th century, masqueraders across the Caribbean would perform in the streets and visit people's homes on festive occasions such as Christmas, New Year's Day, and Whitsun, often in the style of Moko Jumbie. This tradition appeared in locales such as Anguilla, Antigua and Barbuda, Barbados, Saint Kitts and Nevis, and Trinidad and Tobago. An early recorded appearance of the Moko Jumbie is dated to 1791 in St. Thomas in the United States Virgin Islands. From the 1870s, records describe early Moko Jumbie costumes in Saint Vincent and the Grenadines that consisted of European women's dresses under layers of petticoats, often with headdresses to increase their height. African motifs and beadwork were gradually introduced into the designs through a process of Creolization, and likely overtook the European elements around the middle of the 20th century.
Following a period of decline in the 20th century, Moko Jumbie underwent revivals in the 1970s across the Caribbean including St. Thomas and Trinidad. In 1975 Point Fortin, Dexter Stewart—with the support of John Cupid, the advice of Dave Robeson of USVI, and Jefferson 'Ife' Wilkinson of Barbados—began re-learning the art of Moko Jumbie, eventually performing at Trinidad Carnival events and also workshops in Connecticut. In the late 1980s, Glenn 'Dragon' de Souza—with the support of Cathy Ann Samuel—independently revived the practice in North Trinidad. The later input of Mas-man Andrew Roland 'Moose' Alexander helped propel Dragon's group, Keylemanjahro, into opportunities with legendary Mas designer, Peter Minshall.
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