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to the forefront
J'Ouvert City International, Inc.
BOARD OF DIRECTORS
Yvette Rennie- President Philip Pegus- Vice-President
Susan Leung Yuen- Secretary Lynette Pascall- Treasurer
St. Clair Simeon- Operation Manager
Board Members
Samantha Bernardine- PRO Nigel Hunte- Community Liaison
Matthew Tyro- Business Nyasha Rhoden- Steelband Liaison
Rico Silvers- Business Selwyn John- Steelband Liaison
Crystal Rennie- Outreach Charmaine Corney- Media Outreach
Aniyah Henry- Media Selwyn Barrington- Steelband Liaison
Niesha Hunte- Media Christopher Mitchelle- Community Liaison
Daren Lyons- Media Nataki Yeeloy- Media
Get to Know Us
MISSION
J’Ouvert City International, Inc. is a not profit 501.c3 organization which has been in existence for the past 37 years in the Tri State area of New York. Our organization goals are the maintaining and preserving of Caribbean Culture, Indigenous Art Forms and Heritage. Programs are designed to educate and teach all people about the origin and history of our culture. Also, the importance of merging cultures from diverse backgrounds which will be beneficial to all children in the communities.
J’Ouvert City International, Inc. was determined to maintain J’ouvert’s originality and preserve the origin instrument of the culture of “Steelpan”. In passing down this historical torch we must never distort the development of its history. Our children must know that the only instrument in the 21st century “Pan” came out of a struggle by people of African race to maintain our freedom and identity from Trinidad & Tobago.
The Road
J'Ouvert in Brooklyn
J’Ouvert started in 1899 in Trinidad & Tobago, it was accompanied by Tamboo Bamboo musical instruments. In 1937 steelpan made out of dustbin covers and biscuit tins became the leading instrument in Carnival. The Creole form of the French Jour and Ouvrir (day open) complete the creation of the name. J'Ouvert is a significant part of Caribbean carnivals. It is the pivotal aspect of our culture which symbolizes and makes us keenly aware of the historical journey and struggle of African peoples struggle to maintain, celebrate and preserve our cultural heritages. Costumed bands, revelers wearing mud, paint, or costumes that comment on social and political injustices dance through the streets until daybreak to open the daytime carnival.
As years go by the Steelbands were pushed out of the street’s celebrations and the Brass bands and DJ's filled that gap. J’Ouvert came out off a hunger for us as a people to celebrate the totality of our carnival that we brought to this diaspora. Let’s go back a bit and look at Carnival through the eyes of Caribbean people. Carnival came to New York in the 1920 by Jessie Waddle in Harlem, then it was brought to Brooklyn by Rufus Goring on Fulton Street in 1964 and later moved by Carlos Lezama in 1967 to the Famous Eastern Parkway.
Our Carnival during that period was consisted mainly of Steelband music, the only instrument invented in the 21st century. After several years, DJ's and Brass bands became the main source of music on Eastern Parkway and the Steelbands were forced out of the carnival because they could not compete with the loud amplified sounds.
In the late 1980, Steelband leaders decided that they were going to create an arena where they can showcase the beautiful instrument. “Steelpan”, that came out of struggle by people of African race to maintain our freedom and identity. However, during that struggle to enjoy the totality of our carnival, several things were happening at the same time, such as, Golden Stars Steelband from Woodruff and Flatbush and Pan Rebels Steel band were on the streets playing music the Sunday night before Labor Day Monday. Another group, called Scanty and the Supernatural was going from party to party picking up people, dancing in the streets.
According to Mr. Carlos Lezama who is now deceased and was my mentor and Joyce Quaima, they were in the Police Chief’s car, when the chief received a call stating that there were several people on the street jumping up to music and what should they do, the Chief in responded by said bring out the riot squad. Mr. Lezama and Joyce said no and explained what was happening. It is something called J’Ouvert, which is the beginning of our Carnival. The chief sent two police cars to escort the people. Thus, the birth of our J’Ouvert. Some may dispute this story but this is the introduction as we know it. J’Ouvert first official route: Carnival begins on Flatbush Avenue and Woodruff
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It is estimated over a million people partake in the carnival, either as Masqueraders, Steelband or Rhythm players or Spectators. Thirty 35 Steelbands (some bands come from Boston, Philadelphia, Washington, Miami, Toronto, Montreal, Trinidad & Tobago, St. Lucia and St. Vincent) each have over a 100 players, Rhythm bands and Masbands have thousands of mas players. Our competitions are Steelband Bomb, Steelband Calypso, Rhythm, and Masquerade. Brooklyn comes to life with our culture.
JCI holds regular meetings with the 67th South Precinct to outline our needs and concerns and logistics of operation.
• The logistics plan of operations of our J’Ouvert
• Police escorts
• Police security along J’Ouvert route
• Entry Points
JCI holds regular meetings with all the participating Steelbands, Masband and Rhythm Organizations. Each organization must following the rules and regulations that stated by both JCI and 67th South Precinct in order to partake in the J’Ouvert.
• Register with JCI, when register, the group receives, 1 Certificate, 8 J’Ouvert City Security Badges (groups are responsible for their own security for their bands), 2 Vehicle Permits, Proclamation (See the items below)
• All groups be must INSURED, the certificate must be displayed at all times in the panyards and Mascamps (Insurer agent Terrance Lapierre Patriot 5202 Avenue D Brooklyn)
• At all times throughout the Labor Day season Pan yards and Mas camps must display their Certificates
Each group must submit a registration form to partake in the performances:
Each group will be judged for their performances at the various performance points.
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Steelband Calypso & Bomb Performances’
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Criteria -Arrangement (Introduction Re-Harmonization, Melodic-Development. Motive-Development)
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Tone (Quality of Sound, Control, Blend & Balance, Color of Pans)
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Rhythm (Utilizing of all Rhythm, Freedom Steadiness Continuity)
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Phrasing (Shape Melody Flow, Melodic Notes)
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Interpretation (Ability to creatively execute music)
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Masquerade Performances’ Criteria
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Visual Impact
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Relation to the Theme
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Creativity/Authenticity
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Presentation
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Rhythm Performance’s Criteria
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Utilizing of all Rhythm Freedom Steadiness Continuity
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The Foundation

Mr. & Mrs. Earl King
Past and present Caribbean Cultural leaders in New York
INFLUENCERS of our CULTURE
Knolly Panther Nicholas, Mikey Enoch, Eddie Quarless, Clyde Durante, Dawad Phillip, Mervyn Marcano, Marquis Archer, Jerry Ledgendre, Oscar Williams, Dwight Bodell Noel, Emmanuel Jack Riley, Angela Sealey, When Steel Talk, Rawlston Charles, Cyrus Bubsy, Errol Payne, Ronnie Babb, Desmond Chase, Winston Monroe, Thomas Bailey, Dr. Roy Hastick, Clyde Durant, Yolanda Lezama, Jean Pegus, Hazel John, Danville Williamson, Fuzzy Davis
STEELBANDS in New York – Past and Present
Harlem All Stars, Golden Stars, Mas Caribbean American Sports & Cultural Youth Movement (CASYM), Women In Steel Orchestra, Sonatas Steel Orchestra, Pantonic Steel Orchestra, Despers Steel Orchestra, D’Radoes Steel Orchestra, Adlib Steel Orchestra, Hearts of Steel Orchestra, Crossfire Steel Orchestra, Utopia Steel Orchestra, Port of Spain Steel Orchestra, Philadelphia Pan Stars, Harmony Steel Orchestra, Trinidad All Stars USA, Next Generation In Steel, Legend Stars Steel Orchestra, Metro Steel Orchestra, Oasis Youth Steel Pan, Sesame Flyers Steel Orchestra, Tropical Pan Vibes, Pan Liberty Steel Orchestra, Steel X Plosion Steel Orchestra, Marsicans Steel Orchestra, Pan Satisfies Steel Orchestra





























