Capturing the Wild Rapture of  J'ouvert in Brooklyn

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Brooklyn's Dirty Masquerade

Capturing the Wild Rapture of J'ouvert in Brooklyn

Every year, Russell Frederick photographs the West Indian street masquerade that happens in the darkness of night and bursts with unfettered beauty.

Brooklyn-based street photographer Russell Frederick has been shooting in and around Bedford-Stuyvesant since the early 2000s. Frederick's great grandparents moved from Barbados and Jamaica to Panama during the construction of the canal—leaving their home, but not their West Indian traditions behind. With these roots close to his heart, Frederick has been shooting J'ouvert and the West Indian Day Parade since the start of his career.

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He uses his camera to keep the traditions alive in what he describes as an ever-changing city. Originally, he was driven to photograph the parade because of its lack of coverage. Frederick wanted to share the traditions with people from outside Brooklyn who don't have Caribbean roots and are unfamiliar with all of the colors, tastes, and rhythms. This, and his love and drive to support his West Indian community, are what bring him back each year.

VICE: What is it like to shoot at the West Indian Day parade and J'ouvert?
Russell: Shooting both festivals requires you to be on high alert at all times because so much is happening around you so quickly. Photographing J'ouvert is a workout! I photograph J'ouvert as a participant not as a spectator. Its full of festive music from each country, nonstop dancing, beautiful people, good times, and everyone celebrating their roots and culture.

How do people react to being photographed when they're taking part in the celebration?
People are in such a good mood and having so much fun that they pose or they are not concerned with me at all. I would say they have an overwhelming positive reaction to my camera .

Do you think these photos hold a purpose besides documentation?
I think for my people from the Caribbean they're about celebrating who you are, remembering where you come from, your struggle and success as immigrants. The pictures will make these same people think of home. For those who are not West Indian, I hope they will inspire travel, curiosity, conversations, and reading. The pictures are New York's embrace of its West Indian community. The pictures are here to educate.

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What do you think of the violence that happens at J'ouvert? 
I feel the violence is isolated. I think every parade has its share of confrontations— large crowds, alcohol, and tight space are a recipe for some mischief. I think some people want the parade and J'ouvert to end and they are trying to pressure the mayor to shut it down. Its unfortunate and disappointing to hear of anyone getting hurt.

How has the festival changed over the years?
There are a lot more police officers at J'ouvert and the parade now. The cleanup begins earlier and the routes for trucks playing music has shortened. With Brooklyn becoming more white, my concern is the parade being shut down, more barriers, regulations, cultural insensitivity growing, less advocacy, and a decreasing space for the West Indian community.

How has it changed to be a photographer at the J'ouvert and the parade?
The revelry that makes the parade and pre-festival, J'ouvert, so much fun is being compromised by the police presence. People are not as comfortable to be themselves with a heavy police presence. We have our eyes on them.

What makes these celebrations so special to you? 
These are my people. I grew up with Trinidadians, Jamaicans, Puerto Ricans, and Haitians so J'ouvert and the parade bring back fond memories of growing up around people enjoying themselves under the umbrella of West Indian culture. I also love to see the creative expressions of pride everyone wears of their homeland.

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Do you only fill the role of photographer or do you take part in celebrating too?
I have to celebrate! The music is infectious and it helps make better pictures when you are a participant. The smell of jerk chicken, eating some sugar cane, having fresh coconut water, feeling the bass of some dancehall music, seeing the vibrant costumes of the women representing Trinidad & Tobago, hearing the various accents, and witnessing the arts and crafts. My job as a photographer is to tell the stories of the people or a place.

How does this work relate to the other bodies of work that you make?
My focus is to educate people on the rich diversity of the African diaspora around world by countering this negative image of us being the face of poverty, criminals and sex objects. The time has come for us to tell our own stories. More people of color have a voice now in media. Raising awareness is why I take pictures.