The University of the West Indies  
St. Augustine Campus 
Faculty of Humanities and Education 
Caribbean Studies Project 
HUMN 3099 
 
Student name: Keera-Marie Mohammed 
Student ID no.: 816018535 
Degree Program: Visual Arts 
Supervisor:  Steve Ouditt 
 
Title of Thesis: 
How folklore lives in the 21st century through the work of Trinidadian artist, 
LeRoy Clarke. 
 
Word count: 6945 
 
 
Declaration 
 
1. I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, 
in any previous application for a degree. Except where stated otherwise by reference or acknowledgment, the work 
presented is entirely my own. 
2. I authorise The University of the West Indies to make a physical or digital copy of my thesis/research paper/project 
report for its preservation, for public reference, and for the purpose of inter-library loan. 
 
Signature of Student: Keera-Marie Mohammed Date: 15/04/2022 
 
   
 
 
 
THE UNIVERSITY OF THE WEST INDIES 
The Office of the Board for Undergraduate Studies 
 
INDIVIDUAL PLAGIARISM DECLARATION 
 
This declaration is being made in accordance with the University Regulations on Plagiarism (First 
Degrees, Diplomas and Certificate) and should be attached to all work submitted by a student to 
be assessed as part of or/the entire requirement of the course, other than work submitted in an 
invigilated examination. 
 
Statement 
 
1. I have read the Plagiarism Regulations as set out in the Faculty Handbook and University 
websites related to the submission of coursework for assessment. 
2. I declare that I understand that plagiarism is the use of another’s work pretending that it is 
one’s own and that it is a serious academic offence for which the University may impose severe 
penalties. 
3. I declare that the submitted work indicated below is my own work, except where duly 
acknowledged and referenced. 
4. I also declare that this paper has not been previously submitted for credit either in its entirety 
or in part within the UWI or elsewhere. 
 
 
 
5. I understand that I may be required to submit the work in electronic form and accept that 
the University may check the originality of the work using a computer-based plagiarism 
detection service. 
 
TITLE OF ASSIGNMENT – How folklore lives in the 21st century through the work 
of Trinidadian artist, LeRoy Clarke. 
 
 
COURSE CODE – HUMN3099 
 
COURSE TITLE - CARIBBEAN STUDIES PROJECT 
 
STUDENT ID - 816018535 
 
By signing this declaration, you are confirming that the work you are submitting is original and 
does not contain any plagiarised material. 
 
I confirm that this assignment is my own work, and that the work of other persons has been fully 
acknowledged. 
 
SIGNATURE - Keera-Marie Mohammed 
ii 
 
 
 
DATE - 15/04/2022
ii 
 
 
ACKNOWLEDGEMENTS 
Completing one’s degree during a time of great limitations is not without its challenges. 
In light of this, I must give thanks to those who have believed in my ideas and have supported 
my research throughout the process of creating this paper. This project would not have been 
possible without the pillar of support that is my parents, Rajkoomari Mohammed and Kerryn 
Mohammed, who supported my area of study as well as my process of hunting and gathering 
scarce research materials. I’d also like to express my deepest thanks to my supervisor, Steve 
Ouditt, who encouraged my interest in the field of Trinidadian folklore and have given sound 
advice throughout the year of research. In terms of required books and important materials, I 
would like to pay special regards to those at the Heritage Department of the NALIS Library in 
Port-Of-Spain who were extremely helpful, accommodating and reliable during my days spent 
there researching. I’m also grateful for my former Art History lecturer, David Cave, who assisted 
both with relevant materials and advice. For those who I’ve missed, and I’m sure I have, thank 
you from the bottom of my heart for supporting my journey! 
  
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ABSTRACT 
This disquisition enters the world of Trinidadian folklore during the period of the 1950’s 
to the 1980’s, in the country’s era of post-colonial life and newly acquired independence. The 
focus is the discovery and realization of the importance and relevance of folklore in the 
Trinidadian society and its people. The heart of this paper is based on the artist, poet, lecturer and 
religious leader, LeRoy Clarke and his metaphorical utilization of folklore in his artwork. The 
study intends to assess the definitions and origins of folklore in this country, the manner in which 
folklore was approached by LeRoy Clarke, and what importance it holds in the 21st century. This 
specific period allows insight into the way of life was during the post-colonial period and what 
folklore meant, not only to the main artist of the study, but other creators during the process of 
de-colonization such as artist and folklorist, Alfredo Codallo. This script captures and expands 
on the ways in which folklore was implemented in artwork how it was kept alive through this 
medium. 
Keywords: LeRoy Clarke, Trinidadian Folklore, Trinidad and Tobago, Folklore Art, Alfredo 
Codallo, Trinidadian Artists.  
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TABLE OF CONTENTS 
ABSTRACT ................................................................................................................... ii 
TABLE OF CONTENTS............................................................................................... iii 
LIST OF FIGURES ........................................................................................................iv 
LIST OF APPENDICES .................................................................................................. v 
INTRODUCTION ........................................................................................................... 1 
CHAPTER ONE ............................................................................................................. 5 
CHAPTER TWO ........................................................................................................... 10 
CHAPTER THREE ....................................................................................................... 19 
CONCLUSION ............................................................................................................. 29 
WORKS CITED ............................................................................................................ 31 
APPENDIX A ................................................................................................................. a 
APPENDIX B ................................................................................................................ A 
 
  
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LIST OF FIGURES 
FIGURE 1.0 Douens, By LeRoy Clarke (1975)                                                                           11 
FIGURE 1.1 Douens, By LeRoy Clarke (1975)                                                                           12                                                                                          
FIGURE 1.2 Douens, By LeRoy Clarke (1975                                                                             13 
FIGURE 1.3 “Douens”, By LeRoy Clarke (1975                                                                          13                                                                                         
FIGURE 2.0 “Downtown Port-Of-Spain” By Alfredo Codallo, ink on paper                              19 
FIGURE 2.1 “The Central Bakery” By Alfredo Codallo, ink on paper                                        19 
FIGURE 2.2 “Folklore” By Alfredo Codallo, Watercolour                                                          20 
FIGURE 2.3 “Soucouyant” By Alfredo Codallo, Ink on paper                                                     21                                              
FIGURE 2.4 “Douens” By Alfredo Codallo, Ink on paper                                                           21 
FIGURE 2.5 “Trinidad Folklore” By Alfredo Codallo                                                                 23 
 
  
iv 
 
 
 
LIST OF APPENDICES 
 
 
APPENDIX A: Photo of artist, poet and spiritual leader, LeRoy Clarke                                        a 
 
APPENDIX B: Article by David Brizan, “Aspects of Douens”                                                     A
v 
 
 
INTRODUCTION 
 
Rationale 
 The art of storytelling has long existed throughout the course of human history as 
“telling tales” is one of the many things that contribute to our humanity. Here in the little islands 
of Trinidad and Tobago, one has either told or has been told a story of folkloric origin as it is one 
of the many traditions that continue to travel in time through generation after generation. 
Traditions rooted in folklore continue to persist in this location both intentionally and 
unintentionally as it has been woven into the fabric of life here in this community. 
Understandably, each has their own perception of these tales, whether positive or not, there are 
clear influences present to this day. Conducting the research into Trinidadian folklore and its 
origins, only add to the pre-existing notions of this topic and continues to inform those who are 
willing to know of its importance of life in this small, but significant part of the world. 
Reasons 
The aim is to assess and revise how folklore is being kept alive in the 21st century and to 
combat the misconception that folklore is no longer relevant in today’s world. Aside from that 
notion, many even seek to cast folkloric tales and characters as demonic, given their presence in 
conversations that aim to scare or thrill its listeners. Many of these stories are first heard in one’s 
earlier years, most times intentionally, as they are thought to instil values and teach lessons to 
those whose minds are still developing. Creatives such as LeRoy Clarke aimed to utilize folklore 
metaphorically, in order to unravel truths of Trinidadian society using popular folklore character, 
the Douen. Thesis statement: Folklore is an undeniable and essential part of Trinidadian culture, 
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and this is expressed through the examination of the origins of folklore, the interpretations of 
folklore through Trinidadian artist and writer, LeRoy Clarke and the assessment of other 
folkloric works in comparison to that of Clarke’s. 
Parameters 
The time period chosen was that of the 1950’s to the 1980’s as this is when most of the 
work that is being examined was done. This time period also reflects the impacts of colonization 
that is mentioned in the folkloric works done by the individuals that are being researched. 
Trinidadian folklore is the heart of this paper and therefore, the focus is mainly on the works 
produced in Trinidad by Trinidadian artists and authors. Folklore is based both on the people of 
the place and for them. Thus, the theme of this study would be the social impact that folklore has 
on Trinidadian society. LeRoy Clarke was selected specifically to be the focal point of the 
dissertation his work both contributes to folkloric traditions and utilizes the folkloric character in 
a clever and important way. 
Objectives 
This dissertation aims to unravel the origins of folklore in Trinidad to provide more 
insight into its importance and relevance in today’s world. This paper aims to conduct research in 
the artwork and writings of LeRoy Clarke to better examine his metaphorical usage of folkloric 
characters in his body of work. In addition to this, other works that were done in the field of local 
mythology would be reviewed in comparison to those of LeRoy Clarke. In today’s world, it is a 
concern that the art of storytelling and the teaching of morals and other essential lessons are 
losing its impact through mere fable. The results of this study will produce a greater 
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understanding of the importance of folklore in our society and the thinking it will generate could 
enable those to value this aspect of Trinidadian culture. 
Chapter outline 
This study consists of 3 chapters. Chapter 1 presents the literature review where all 
important and definitive sources are assessed. Chapter 2 introduces and examines the artwork of 
Trinidadian artist, LeRoy Clarke. Chapter 3 introduces Trinidadian artist and folklorist, Alfredo 
Codallo, where his artwork is discussed individually and comparatively with the work of LeRoy 
Clarke. 
Methodology 
Data Collection 
For this paper, primary research was conducted where a review was done of books 
written by LeRoy Clarke as well as those that discussed folklore, other folklorists and the 
folkloric traditions of the people of Trinidad. Online interviews of LeRoy Clarke were utilized to 
further conduct research on this artist and work. The secondary sources came in the form of local 
and international online articles that would have aimed to discuss the people of interest and 
contained definitive terms of the focus, folklore. Further secondary sources were articles 
discussing the artwork and writings of LeRoy Clarke and Alfredo Codallo as they both shared 
similar themes.  
 
 
 
3 
 
 
Data Utilization 
The approach is qualitative as the materials to be assessed are writings and visual 
artworks that were of folkloric themes. The assessment of these materials would allow the 
gathering and determination on whether folklore continues to be relevant in today’s world as it 
would have during the period of 1950 to 1980. The variant of this study is social and cultural as 
the themes explored are an essential part of local culture and contribute to the way of life in this 
society. 
 
  
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CHAPTER ONE 
  
Literature Review 
In order to conduct this study into the realm of Trinidadian folklore, materials including 
books, articles, theses and pre-existing, online interviews were utilized in the retrieval of relevant 
data. The writings of LeRoy Clarke, David Brizan, Jeremy Taylor, Glenda Rose Layne, Neala 
Luna, Kenwyn Crichlow, Holly Gayadeen and Gerard Besson were analysed to make 
connections between their literary productions and find the gaps that may exist. Additionally, to 
further dive into the personal life of LeRoy Clarke and his Douen productions, articles written by 
Jeremy Taylor, Paula Lindo and Duff W. Mitchell were referred to. Initially, the Trinidadian 
artist, writer/poet/, lecturer/ institutionalist and religious leader, LeRoy Clarke  produced a series 
of books that belonged to a collection called “Douens” and would have consisted of 5 books 
overall. Throughout these books, he wrote poems that reflected the harsh climate of the 
postcolonial, Trinidadian society in which he grew up in and during the period in which he 
created his content. In these short books were handwritten poems where he would relay a myriad 
of seemingly dark scenarios, ideas and insights into this world of “douendom” as he captured life 
in the late 1970’s Trinidad.  
 Before plunging further into the metaphorical usage of this commonly known folklore 
character, it is understood that the actual definition of a douen can differ. A publishing that 
featured the folklore of Trinidad, titled, “The Spirits of Trinidad and Tobago”, described the 
“Duennes” as a cult that was as a result of a cholera epidemic in Trinidad in the mid-nineteenth 
century where many of the new-borns succumbed to the disease (Paria Publishing). In another 
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online article titled “Jumbies of the West Indies” provide for another view of the Douens where 
they are described to be specifically of Trinidadian origin, without a gender, uses large straw hats 
to hide their non-existent faces and feet that are turned backwards (Deebrah). Douens are 
particularly known to reside in forested areas where they prey on unsupervised children, taking 
them into the depths of the bushy region to never return (Deebrah). However, according to David 
G. Brizan, “Douens are known to have been the spirits of premature babies who died before 
religious rites can be performed and as a result would linger in the world of the living”, which is 
the more commonly accepted definition of a douen in this country (1). Continuing along the lines 
of the words of David Brizan, an article by this specific writer was sourced to aid in deciphering 
LeRoy Clarke’s douen series. The excerpt titled, “LEROY CLARKE AND DOUENS”, came 
from Howard University, Washington D.C, where David Brizan pioneered research into this 
artist. The author broke down Clarke’s hidden meanings and motivations behind his very large 
body of work done in the douens. Given the visual characteristics of the douens, this would 
account for the use of them in LeRoy Clarke’s work as an unprecedented utilization of Trinidad 
folklore, a frightening reality on canvas (Brizan 1). Other articles on the artist discuss the weight 
that LeRoy Clarke had and continues to have in Trinidadian society as he is deemed to be one of 
the master artists in the Country. The seriousness of the ideas explored in LeRoy Clarke’s 
“Douens” may have expressed fractions of personality as well, as he was described as a very 
intense individual by his children and colleagues. To further sink one’s teeth into the Douen 
epidemic, an article titled “LeRoy Clarke: Warrior art”, by Jeremy Taylor was of much interest 
as his take on this body of artwork was beneficial to this paper. Jeremy Taylor refers to the 
douens as sad and playful characters of Trinidad and Tobago folklore and he quoted LeRoy’s 
views of the douens in relation to himself and the people of this country  as “giddy and lost 
6 
 
 
people” (Taylor). Taylor went on to share that the images of douens were powerful and were not 
the only shadow figures to be reconsidered. He states that this was an extreme way of connecting 
aged, but familiar concepts and imagery to the tumultuous society in the period of the late 20th 
century in the Caribbean. (Taylor).  
In addition to the work done by master artist, LeRoy Clarke, in the field of folklore, 
artwork done by another Trinidadian folklorist, Alfredo Codallo was observed. Codallo was also 
known for creating artwork in the area of folklore in a time not too distant from that of Clarke 
and it was of much interest to review their works comparatively as they had different ways of 
approaching this topic. The writings of Holly Gayadeen in the book, “Selected Works of Alfredo 
Antonio Codallo, Artist and Folklorist: (1913-1971)”, was analysed as it contained some of 
Codallo’s body of work within. With reference to this information, a relevant article was sourced 
to relay the author's thoughts on the artist and his work done on the topic of Trinidadian fable. 
Gerard A. Besson goes on to expand on the contents of the book, which gave insight into the 
artist’s goals, art style and general aspects of his life. Alfredo Codallo was said to be an artist that 
captured everyday life, disregarding more popularized European art styles and movements. 
Aside from the information of the artist, Besson goes into detail on the feelings of oppression 
during that time due to the previous years of ruling under the colonial government. In addition to 
this, a critical essay written by Trinidadian artist and educator, Kenwyn Crichlow, was sourced 
for additional details of the paintings done by Alfredo Codallo. In terms of the artist’s work, 
Crichlow explains that the painting, “Folklore”, provides a mirroring of the concerns conveyed 
in Trinidad and Tobago prior to the country’s Independence in 1962. It is also understood that 
prior is artist’s work, visual representations of these characters ceased to exist and according to 
Crichlow, “It is to the inventiveness of the artist, Alfred Codallo, that an audience largely 
7 
 
 
resident in urban Port of Spain was able to formulate thoughts about the deeper attributes of the 
figures and of the landscape to reflect concerns of the emerging postcolonial 20th century 
Trinidad and Tobago”.    
Moreover, the investigations could not progress without first consulting with critical 
defining terms and functions of folklore in Trinidad and Tobago as they feed into the importance 
and relevance these tales and characters hold in the 21st century. Therefore, speaking on the topic 
of folklore itself, many other articles had to be sourced to uncover the definitions, roles and 
origins of these folk tales in Trinidad. Folklore can be defined as “a belief system that includes 
songs, bush medicine, prayers and folktales” (Popova et al 51). This collection of information 
goes on to explain the representations of folk in the classroom and ties into some of the functions 
of folklore. In a dissertation written by Glenda-Rose Layne titled “Honouring Caribbean Folk 
Cultures: A Personal Reflection” goes into detail on the importance and function of folklore in 
the raising of younger individuals. Layne states that, “throughout the Caribbean, values such as, 
parental respect, love for the extended family, the care and protection of the elderly and young 
are significant. Such values and practices encourage strong family bonds and highlight the 
importance of belonging to a community” (Layne 102). She further elaborates that folklore is the 
root of these developments in communities, family and society. Trinidad is a society known for 
its diverse backgrounds stemming from indigenous, African, Indian, Chinese, European and 
Middle Eastern influences of which the local folklore was born (Luna). In the words of Neala 
Luna, folklore permitted those in the islands to deal with difficult realities that pervaded the 
construction of a new life. These legends are often constructed in the form of riddles and 
proverbs, teaches morals and continues to live on in the more rural communities such as Tobago 
8 
 
 
(Luna). It should be mentioned, however, that Tobagonian folklore has its differences from that 
of its sister isle, Trinidad, as a result of different colonial ruling and influences.  
Without a doubt, oral history and these ideas it of continue to persist in 21st century 
Trinidad, as artists, writers and even the average local citizen, continue to keep the stories alive, 
whether intentionally or not. The interest in this topic has little to do with what is not being done 
and rather what has been done and lives on to this day due to the absolute thoughtfulness and 
intelligence of the creatives in this country. Master LeRoy Clarke metaphorically utilized 
folklore in his work to highlight and provoke change in a society he did not deem fit for him and 
his people. Whilst another local artist, Alfredo Codallo, saw the beauty in our locally, combined 
effort that would have constructed visual renditions of these characters, stemming from all the 
different backgrounds to become something that belonged to the people of this country and that 
was here to stay. He portrayed folkloric characters realistically, to maintain their image, sharing 
the value in this nation’s culture. Both artists captured folklore but told very different stories in 
the process. Studying this artist gives some insight into the time period that Clarke would have 
also created work and some comparative material that would contribute to the application and 
function of these local legends. As this paper continues to dive into the backgrounds of these 
artists, the aim is to deliver the usefulness and importance of folklore, perhaps some values that 
were lost along the way and bring light to misconceptions that managed to prevail, clouding the 
judgments of today’s citizens.  
9 
 
 
CHAPTER TWO 
Master artist, spiritual leader and poet amongst many other roles play by this individual, 
LeRoy Clarke has made his name as a Trinidadian artist that explores the social ills of third-
world country living through his various expressive mediums. Clarke has worked expeditiously 
to create his work as he dedicated his life to his art and poetry, according to his family and others 
known to him via an interview done by Ernest Che Rodriguez called, “Fragments of History”. 
This can be seen through the vast bodies of work that he has produced over the years. He was 
heavily influenced by post-colonial Trinidadian society where the topic of corruption was a 
central theme in his work. In honour of Clarke’s passing, many articles were constructed in light 
of his craft and himself of a member of society including an article in the Trinidad and Tobago 
Newsday titled, “Artists pay tribute to LeRoy Clarke”, by Paula Lindo. As reiterated by artist and 
activist, Rubadiri Victor, “LeRoy’s devotion to his work was superhuman” and as quoted by 
famous author, Derek Walcott which suggested that whilst Clarke did in fact have a gift and was 
very talented, ‘that person has to dedicate his life to honing that talent”, and so he did (Lindo). 
His body of work, according to Neil Rawlins, the Council of Orisha Elder of TT secretary, spoke 
of his connection to his community and environment and mentioning that “LeRoy’s vast body of 
work surpassed his humble upbringing, and this brought his success on a global scale” and 
continued by highlighting the fact that “his documentation of the growth and development of this 
country, now leaving behind a legacy that carries such authenticity and depth” (Lindo). Many 
thoughts and views were expressed after the passing of LeRoy Clarke in the year 2021, bringing 
to light many of the iconic artworks that the artist would have created. One such collection, 
“Douens”, is what inspired this paper as the metaphorical usage of the legendary character was 
of great fascination. Making its debut in the years 1973-1976, “Douens” was a very popular 
10 
 
 
collection of works that featured a multitude of paintings, drawings and poetry that “celebrates 
possibilities” as the artist and poet seeks his new beginnings. The interest lies in the importance 
of folklore, and even though this collection was introduced in the late 70’s, these works, and the 
clever way folkloric themes were incorporated to deliver the messages of inciting change were 
notably essential to the development of this country. This paper intends to discuss the work the 
artist has produced during this period and its relevance to the 21st century. Clarke’s death brought 
about a wave of sadness as his life’s work meant a great deal to the people of Trinidad and 
Tobago, but it also brought a lot of attention to his work to the newer generation, introducing and 
creating a pathway for others to learn about the messages behind his work.  
 
Moreover, “Douens” by LeRoy Clarke was a compilation of all hand-written poems in a 
single book that included a variety of drawings that featured multiple Trinidadian mythological 
creatures including the Douens and to a lesser degree, the Moko Jumbies, the Soucouyant and La 
Jablesse, which are also well-known. To unearth the “hidden” definitions and messages that were 
encapsulated in Clarke’s work, David Brizan was referred to as he eloquently wrote an article 
titled, “LE ROY CLARKE AND DOUENS”, on the entire collection in which he gave some 
insight into the mind of Clarke and the douens. Initially, it is understood that the artist explored 
the topic of third-world issues through well-known, folkloric personalities. According to Duff W. 
Mitchell, in an article titled, “LeRoy Clarke---a Known Mystery”, Douendom allowed for 
folklore taking centre stage and was used to narrate the condition of the African psyche. Brizan 
describes Clarke’s approach as it was done with “freshness and vigor” as at the time of creation, 
his work differed from that of other contemporary artists due to his “unprecedented utilization of 
Trinidad folklore” (Brizan 1). The author noted that Clarke’s poetry words contained socio-
11 
 
 
political messages that meshed with the artistic properties of the Douen metaphor (Brizan 1). 
Essentially, he worked these two together in a way that did not compromise his message nor his 
artistic goal. Flooded with symbolism, Clarke’s words express an undeniable commitment to life 
and the people of Trinidad even amid all the death and violence uttered throughout the pages of 
this book. His focus lay in the “egg” and the fertility that his country of origin held, capable of 
birthing the new beginnings he desperately yearned for. Unlike many others who paved the way 
for Clarke to continue vouching for societal change, he had a true sense of self and purpose, his 
understanding of life and which Brizan reveals, lies the total secret of the artist (1). Many of the 
works in his poems express a relationship where the situation dramatically spiralled into a 
twisted world of pain and despair, to only be lifted again in a new light and it is understood that 
this is what the series, and the poet, set out to do. According to the analysis by Dr. Wilfred 
Cartey, a professor in the Department of Black Studies from The City of University of New 
York, the poems were a ritual and by the end of the last book, “Mask Bled Rivers”, the ritual of 
Douens was complete (Douens). Cartey also stated, “now, the feet of the Poet are not turned 
back on themselves, he is coming, resolute, towards El Tucuche---his apocalypse’ (Douens). 
This idea feeds into the point made by Brizan which suggests that the Poet has utilized this body 
of work for his own self-realizations and El Tucuche, his destination, is known to be one of the 
highest mountains in Trinidad (2). Additionally, El Tucuche is a subsequent body of work done 
by the artist, following the Douens series. 
The artist is also known for his drawings during the douen series that, like many other of 
his artwork, represents a more intuitive style. This can stem from the fact that he did not further 
his education beyond the secondary level, unlike many other revolutionaries in this region. It is 
suggested by Brizan that perhaps this is what may truly represent truthfulness and honesty in the 
12 
 
 
work of LeRoy Clarke and his abilities to make work truly inspired by his environment and 
experiences. Douens become an indictment on those who have destroyed life and they are known 
for their tendencies to trick children, taking their lives away, leaving them in a state of confusion 
and twilight (Brizan 2). Clarke mentions the physical characteristics of the douens in his book 
“Archipelago” where he says, “…And so with backward-turned feet…” (Clarke 4). 
 
  
Figure 1.0 Douens, By LeRoy Clarke (1975) 
 
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Figure 1.1 Douens, By LeRoy Clarke (1975) 
 
 
 
14 
 
 
Figure 1.2 Douens, By LeRoy Clarke (1975) 
 
Figure 1.3 Douens, By LeRoy Clarke (1975) 
 
15 
 
 
Accompanying the poetry in LeRoy’s Clarke book of combined poems were a series of 
very intricate drawings that gave some insight into the artist’s words. Clarke is widely known for 
his massive art pieces, typically done in acrylic paints but this collection, however, were ink 
drawings done on paper. Many of these drawings featured the use of the distorted human body as 
the artist utilized many of the elements and principles of art including line, shape, contrast and 
repetition. With no two drawings alike, each figure required its own, individual dissection as to 
uncover the relation of the drawings to the themes explored by the artist. In figure 1.0, the human 
body is recognized immediately from the presence of the arms, outlined breasts and legs that do 
not continue down to the feet. Atop the shoulders rests the head where the face sports three eyes, 
a nose and a myriad of smaller compartments utilizing that space. Surrounding the head, circular 
rings can be noticed moving outwards and growing in size. The short and long line projections 
that were featured on the perimeter of the individual’s body stand straight like hair. The principle 
of repetition is evident in this drawing as the artist incorporates several shapes and lines to 
compose his drawings. In comparison to figure 1.0, figure 1.1 features another human-like figure 
that is noticeably taller as it sports a longer torso region and limbs. It is evident in this drawing 
that the artist refers to the typical characteristic of the douens as this figure has backwards turned 
feet, where curiously, only one toe features a pointed toenail. As the gaze moves up the body, the 
midsection contains various shapes and a spear-like tool piercing through the lower abdomen. 
Similar to figure 1.0, this drawing also had outlined breasts except smaller and is filled in with 
curved and straight lines. Finally arriving at the upper body, the armless shoulders merge into the 
neck and sprout into two heads, appearing to be overlapping. The faces have no defined nose or 
mouth but do have eyes that consist of swirls and multiple circles. Figure 1.3 illustrates another 
figure that appears to be holding onto someone in a protective manner. Whilst the protected 
16 
 
 
individual wears a blank expression, the protector appears to be afraid as the hair-like projections 
stand straight and travel all the way down their back. Another factor that adds to this notion is 
the open mouth and alarming facial rendering of the person. The eyes jutting outwards, 
exaggerating the expression. The back of the head also expands beyond that of a regular skull 
structure, opening into extending lines which can also be interpreted as hair. Hidden within the 
head as well, one can notice another hair of eyes, peeping between the mass of intricate lines. 
This piece gives off a rather maternal atmosphere, that of a mother protecting a child from 
harm’s way. Finally, figure 1.4 is that of an elongated human form as they have long torso and 
limbs. The small, inward turned hands appear to be holding something resembling a bundle of 
sticks or even a broom. The breasts are less exaggerated, reduced to circular nipples in 
comparison to figures 1.0, 1.2 and 1.3. Moving up the long neck, there is a mass that seems to be 
sticking out of the throat. The head region has noticeable features including the eyes, nose and 
jaws but also appears to be without skin as the motion of the lines surrounding the facial features 
appear be that of veins that exist below the surface.  
Furthermore, whilst the drawings had many differences, a lot of similarities can be 
spotted throughout the early set of them in the book. There is a clear contrast in these drawings 
that simply go beyond the usage of black ink on white paper. There is an obvious distinction 
between areas of each drawing that determines which area requires more attention. The bodies of 
the human-like figures were drawn mostly as an outline while many of the distorted features of 
the drawings seem to be focused on the heads of the individuals which tend to shift the focus to 
that region. It is not difficult to recognize these sections of the body as the head, but this is where 
the drawings seem to become more complex and technical in design. In figures 1.0, 1.3 and 1.4, 
it is seen that there is an almost explosive effect occurring in and around these heads as the 
17 
 
 
repeated lines and shapes are seen expanding and moving outwards. With regards to the 
“douens’ that Clarke speaks of appear to be in a state of dismal twilight, it makes sense that this 
occurrence would affect the brain and thus the heads of these beings. Many of the illustrations 
have eyes that contain multiple circular rings which can signify a state of confusion or even 
hypnosis which further pushes the idea of being in a non-realistic state. As the book continues, 
many of the drawings take the same shape of more distorted, human-like bodies with sections 
that are more complex than others. With regards to the style of drawing in relation to their 
meanings, the creatures were ‘obzocky’ or physically distorted due to the oppression and 
subjugation over approximately five hundred years which warped both the mind and body 
(Mitchell). 
Not only did Clarke highlight the common characters in folklore, but he also utilized 
Trinidadian lore in a manner that made it more than just a story, more than just a frightening tool. 
He created this point of view, this relevance that allows the viewer to see how these characters 
might relate to living in third world countries, especially Trinidad and Tobago. He wrote mainly 
about what he has experienced in Trinidad but was not limited to this island or even the island of 
Tobago only. He spoke collectively, he spoke about the African experience, he spoke about the 
societal wrongs faced and he made art to combat, art to speak and art to highlight all that he 
found needed attention. His work aimed to inform and incite an urgent degree of change, but 
Clarke also uses these ideas to work on his own sense of self. According to David Brizan, “the 
Douen drama transcends it's on reality and becomes a symbolic emotional catalyst for the artist’s 
self-scrutiny and self-revelation” (Brizan 2). The complexity seen within his work further 
promoted that of the situation itself and the artist’s way of thinking. 
  
18 
 
 
CHAPTER THREE 
In LeRoy Clarke’s book, Douens, there is a segment of the book titled, “SEE, HOW ALL 
PASSES...”, where the poet opens a discussion about taking great, local literary figures and 
visual artists for granted as he mentions, “You who have already forgotten LeRoy Calliste, Eric 
Roach, Alf Codallo and Cecil ‘Maestro’ Hume...” (Clarke 50). Interestingly, Clarke mentions 
“Alf Codallo” formally known as Alfredo Antonio Codallo, Trinidadian folklorist, self-taught 
artist and draughtsman. As an artist that preceded LeRoy Clarke and had an extensive body of 
work in the field of folklore, it appeared to be of great importance to discuss the work done in the 
field of folklore as it is relevant to the research. Unable to deny the connection between these 
artists, it was observed that Clarke actively re-drew the characters that were visually constructed 
by Alfredo Codallo, implying the birth of the Douen inspiration (Mitchell). Both artists have 
tackled the topic of folklore in their bodies of work and are seemingly different in their 
approaches but still share many similarities. Alfredo Antonio Codallo was born and raised in 
Trinidad and was born of parents descending from East India and Venezuela. According to Holly 
Gayadeen, the artist was indeed self-taught as an artist as he “educated himself through his own 
practice and self-criticism”. He is particularly known for his interest and extensive research into 
Trinidadian folklore where he produced a great amount of both ink drawings and watercolour 
paintings. Codallo’s work didn’t only capture this country’s mystical beings as he also 
maintained a series of drawings that aimed to capture and document everyday life, trapping them 
by use of his expressive mediums and were published in the Sunday Guardian newspaper. 
According to Gerard A. Besson who spoke of the artist in an article, “Codallo made artwork of 
the community and for the community”.  
19 
 
 
Similar to LeRoy Clarke, Alfredo Codallo was brought up in a time period that faced the 
impacts of British colonial rule. Holly Gayadeen, in his book captured a great deal of the works 
done by the artist that fits the theme most relevant to this paper, folklore. Codallo denied many 
trending art styles in his general body of work. His inked artworks feature very detailed scenes of 
“everyday” life in Trinidad or rather, a casual days with people carrying out their daily duties. He 
found beauty in the simplicity of their actions, something, according to Gerard Besson, would be 
read as the “good ole days”. Accompanying his renditions of the “everyday scenes”, Codallo also 
captured moments of cultural dances, religious practices and individual and combined drawings 
of the Trinidadian folklore characters. In addition to his ink drawings, Alf Codallo, produced 
paintings that provided visual representations of mythological characters that are dear to 
Trinidadian culture. Whilst Codallo did not conform to one specific art style, he stated that his 
intention was to create artwork that articulated his intentions clearly and was free of complicated 
art terminology to convey his national pride (Gayadeen). The artist was described as an 
individual who created through the experiences of an individual who lived a full life (Gayadeen). 
20 
 
 
Figure 2.0 "Downtown Port-Of-Spain" By Alfredo Codallo, ink on paper 
 
Figure 2.1 "The Central Bakery" By Alfredo Codallo, ink on paper 
 
21 
 
 
Both figures 2.0 and 2.1 display artworks by Alfredo Codallo that aimed to capture 
“long-time” Trinidad, as his extremely detailed drawings, managed to extract the time period 
itself utilizing paper and ink. Many elements and principles of art can be accounted for in these 
delicate artworks including line, value, space and texture. The artist’s intricate use of line 
allowed for defined character composure, formation of textured materials and exquisite 
separation from background, disregarding similar line and value constructs. In figure 2.0, Holly 
Gayadeen recounts this scene as “a busy area at the crossroads between downtown which is the 
commercial hub of Port-Of-Spain when the tramcar, horse and buggy were the chief means of 
transportation”. “The Central Bakery” in figure 2.1, according to Gayadeen, “brings into reality 
the charged atmosphere at C.V. Chins Baking Company in Port-Of-Spain" (Gayadeen 17). When 
one thinks of life in the city, one can witness the “charged” energy present there; there is no lack 
of life or movement, and this is clearly represented in the drawing. The detailed drawings contain 
very little open spaces, each corner filled with hidden elements to unlock as one’s eyes browse 
across each drawn in aspect. The artist created a space that allowed viewers to return to the time 
period present in these drawings and even though he was not necessarily interested in 
conforming to the popular art movements, his realistic works provided communications in a time 
where advertisement agencies didn’t even exist yet (Besson). 
 
22 
 
 
Figure 2.2 "Folklore" By Alfredo Codallo (1958), watercolour 
 
  
23 
 
 
Figure 2.3 "Soucouyant" By Alfredo Codallo, Ink on paper 
 
Figure 2.4 "Douens" By Alfredo Codallo, Ink on Paper 
 
  
24 
 
 
Figures 2.0 represents the watercolour painting done by Alfredo Codallo that portrays a 
group of bundled together characters that are known solely through oral traditions. Codallo 
provides visual descriptions of these creatures at the very edge of a gloomy, forested area. In 
comparison to the previously discussed black and white drawings, the artist can be seen here 
utilizing bold colours to capture the characters and the mystical landscape he created for them. 
As described by Trinidadian artist and educator, Kenwyn Crichlow, “They are assembled in this 
claustrophobic place, a surreal wilderness of twilight juxtaposed to the sublime moonlit hills in 
the distance”. These specific drawings featured in figures 2.3 and 2.4 were chosen as they were 
previously mentioned in chapter 2 as characters explored by LeRoy Clarke as well. Most 
importantly, the douens, as captured by Codallo, provide an insight into the way douens would 
have looked based on their general descriptions including being short, plump, naked, backwards 
turned feet and they are especially not without their big, straw hats that covered their faces. The 
Soucouyant, “the Caribbean’s vampire” according to LeRoy Clarke was also included to provide 
imagery of what Codallo thought she would look like. Codallo’s realistic art style his was 
beneficial in the case of capturing and documenting these functional personalities. In an analysis 
of figure 2.2, “Folklore”, Crichlow considers this work to be of a more “pictorial language”. 
Importantly, prior to this artist’s folklore collection, many visual representations of these folklore 
characters did not exist (Crichlow). Embarking on this journey of research and creation of 
folklore characters that were without visual illustrations anywhere other than the minds and 
words of storytellers, Alf Codallo provided his country with something that would begin making 
these stories something more than just a tale. 
25 
 
 
Figure 2.5 "Trinidad Folklore" By Alfredo Codallo 
 
 
 
A multitude of known characters in Trinidadian folklore can be seen throughout this 
intricate painting in figure 2.2 featuring the Douens, Soucouyant, Papa Bois, La Jablesse and 
Mama Glo to list a few. Figure 2.5 also presents a closer look at the characters, some performing 
tasks they are usually known for in their own individual stories. In the foreground, the douens are 
seen idly playing on the river’s bed, Papa Bois, standing in the middle ground, holding onto a 
deer protectively and even the Soucouyant, undressing beneath the cotton tree. Within both these 
paintings, the artist pays careful attention to detail where there is a noticeable warm glow on the 
centre of the of the landscape as well as the mythical figures as they are situated in the dark, 
cool-toned forested area. Not only does this use of colour draw the viewer in, this specific 
technique also brings life into the painting and therefore life to the characters that were finally 
26 
 
 
given proper recognition. Often known for being in the dark, hiding in the shadows, these 
popular personalities were placed in the spotlight, embarking on the journey of cultural pride and 
strength.  
Moreover, Alfredo Codallo and LeRoy Clarke shared many similarities in the works 
created and are such linked by the process of decolonization in Trinidad and Tobago through the 
utilization of folklore. Whilst the aim of Codallo was to document the cultural gems on the island 
by creating images of mythical characters that failed to exist visually before, Clarke headed an 
artistic revolution whilst utilizing the known aspects of local myths to start a new conversation of 
societal ills and post-colonial issues. Codallo’s work was done in a language understood by all 
whereas Clarke’s work was noted to be inventively metaphoric. Both of their projects held an 
immeasurable amount of cultural importance and symbolism, providing the 20th Trinidadian 
society with a sense of assurance and structure. These artists have been the steppingstones to the 
development of folklore driven thought and thus, its importance. Regardless of the time period in 
which the work was constructed, the foundation that was laid continues to transcend time and 
manifests itself in the reality of the Trinidadian society. Notwithstanding the debate that both 
artists acknowledged the flaws in the systems that surrounded the time periods, it should be 
mentioned though that LeRoy Clarke undeniably tackled this topic in both his writing and 
artworks continuously. His vision, however, was not clouded with only the negative aspects as 
he had hope for his country which is why he used his research to incite change in both himself 
and his community. Community is another important factor that links these two artists together, 
it is one of the main driving forces behind the works done. Alfredo Codallo, constructed the lives 
of everyday people and the visual representation of local mythical characters by means of 
connecting himself with and to the community in which he resides. Clarke, whilst exposing the 
27 
 
 
wrongs, always spoke about the better days, the hope that he had and the hope that his country of 
origin would give birth to. The differences spotted between the bodies of work could be found in 
the art styles, methods and use of folklore. Codallo, rejecting the norms of European art 
expressions, created his paintings in a manner that brings to life the non-tangible aspects of our 
culture. In that case, many of the personalities were recognizable as were the landscapes that 
they were painted in. Clarke on the other hand, also rejecting the artistic norms, had a very 
intuitive approach, his artwork becoming more and more complex yet figures of the human body 
still recognizable. Both artists, however, were self-taught and regardless of their methods, 
mediums or even portrayal, set out to make their artwork understandable by the target audience, 
the people of Trinidad and Tobago. In that way they are very similar, the way they connect to 
their country and create truthfully. 
  
28 
 
 
 
CONCLUSION 
 
Embarking on a journey through time, the revolutionary thinker and creator, LeRoy 
Clarke and his contributions to folklore in Trinidad and Tobago was extensively explored. From 
what was unearthed, a much better understanding of the role this artist played in the 20th century 
was obtained in terms of his themes portrayed. Clarke utilized the well-known fundamentals of 
folkloric beings, specifically the douens, to produce a body of artwork and literature to make the 
connection between the people in this society and the state of the country at the time of post-
colonialism. Without a doubt, colonialism left behind a series of oppression faced by most locals 
at the time. LeRoy Clarke was one of those that grew up in said time period and his artwork was 
deemed revolutionary and true to him as well as his experiences. In addition to this artist, the 
artwork of Alfredo Codallo was also considered as they were also reflective of that time period. 
Both artists expressed their themes of social and political injustice, cultural expression and ties to 
community using folklore. Folklore can take many shapes, a carefully constructed tale or even a 
cultural dance, regardless, it is what connects people and is the root of their culture. These artists 
skilfully utilized something recognizable by the people they were representing and thus had a 
huge impact on the way they live today. As a fine artist, one can look up to these master 
creatives that have paved the way to deepening the connection to our cultural body in the 21st 
century. LeRoy Clarke’s death opened his ideas to be re-examined once more, to remind the 
people of this country from where they have come and where they can go. Undeniably though, 
these artists created in a period that suffered a vast degree of struggles that many born in the 21st 
century may never have to experience. This then brings to light the burning question, how are 
29 
 
 
these themes relevant to life in the 21st century? Importantly, one must remember the foundations 
on which folklore was built. To teach lessons, to guide morally, to entertain and to have 
something belonging to the people of Trinidad and Tobago. One might even argue that these 
artists, especially the complexity and creativity of thought and application was furthered by 
intellectuals such as LeRoy Clarke which not only highlights the often overlooked, but also adds 
layers to the importance of it. The 21st century is simply another time period facing its own 
demons, not necessarily through colonialism directly but rather the continued impacts that plague 
society to this day. These local legends have taught many things including how to be safe, how 
to respect your elders but most crucially, it has allowed people to express themselves in times of 
need. LeRoy Clarke has shown the hope and love he has for his community amongst the 
darkness that may interfere. Alfredo Codallo demonstrated the beauty of everyday life, the true 
faces of these non-tangible story characters and cultural representation in times where there was 
the bare minimum. In short, much can be learned from these two individuals, most 
predominantly, how one can continue to achieve what previous creatives have fought for, 
through the art and through whichever medium that makes room for cultural expression and 
appreciation. 
30 
 
 
WORKS CITED 
Besson, Gerard A. “Alfredo Antonio Codallo.” The Caribbean History Archives, Paria 
Publishing, 9 Jan. 2012, http://caribbeanhistoryarchives.blogspot.com/2012/01/alfredo-
antonio-codallo.html.  
Brizan, David G. “Douens 1973 to 1975...a New Series of Paintings Drawings and Poems.” The 
Gallery of Art, Howard University [The Gallery of Art, Howard University, Washington, 
D.C], 9 Aug. 1976, pp. 1–8.  
Crichlow, Kenwyn. “'FIGURES TRAPPED AT THE FOREST'S EDGE'.” Kaieteur News, 5 
June 2010, https://www.kaieteurnewsonline.com/2010/06/06/%E2%80%98figures-
trapped-at-the-forest%E2%80%99s-edge%E2%80%99/.  
Clarke, LeRoy. Douens. D.A. Reid, 1981.  
Deebrah, Miranda. “Jumbies of the West Indies.” The Brown Geeks, Avaaz Media, 16 Feb. 2021, 
https://thebrowngeeks.com/jumbies-of-the-west-indies/.  
“Folklore of Trinidad Archives.” Paria Publishing, Paria Publishing Co. Ltd., 18 Nov. 2020, 
https://pariapublishing.com/tag/folklore-of-trinidad/.  
Gayadeen, Holly, and Alfredo A. Codallo. Selected Works of Alfredo Antonio Codallo, Artist and 
Folklorist: (1913 - 1971). Holly Gayadeen, 1983.  
Layne, Glenda-Rose. “Honouring Caribbean Folk Cultures: A Personal Reflection.” CULTURAL 
AND PEDAGOGICAL INQUIRY, University of Trinidad and Tobago, vol. 11, 6 Jan. 2020, 
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pp. 92–104, https://journals.library.ualberta.ca/cpi/index.php/cpi/article/view/29506. 
Accessed 15 Apr. 2022.  
Lindo, Paula. “Artists Pay Tribute to LeRoy Clarke.” Trinidad and Tobago Newsday, 29 July 
2021, https://newsday.co.tt/2021/07/29/artists-pay-tribute-to-leroy-clarke/. Accessed 15 
Apr. 2022.  
Luna, Neala. “Folklore of Trinidad & Tobago.” Neala Luna StoryCollector, Neala Luna, 28 Mar. 
2019, https://nealalunastorycollector.wordpress.com/2014/04/06/folklore-of-trinidad-
tobago/.  
Mitchell, Duff W. “Leroy Clarke-A Known Mystery.” The Caribbean Review, THE LLOYD 
BEST INSTITUTE OF THE WEST INDIES, 2 Feb. 2009, 
https://www.caribbeanreview.org/2009/02/leroy-clarke%E2%80%94a-known-mystery/.  
Popova, Dyanis A., et al. “RECOLLECTIONS AND REPRESENTATIONS OF FOLK IN THE 
CLASSROOM: Teacher Perspectives.” Caribbean Curriculum, vol. 23, 2015, pp. 49–51., 
https://journals.sta.uwi.edu/ojs/index.php/cc/article/view/796. Accessed 15 Apr. 2022.  
Rodriguez, Ernest Che. “LEROY CLARKE - Fragments of HIS-STORY - Ernest Che Rodriguez 
(2009).” YouTube, uploaded by Visual Art and Production, 27 July 2021, 
www.youtube.com/watch?v=uk9Uqw3qs9c&feature=youtu.be.  
“The Spirits of Trinidad and Tobago Caribbean Folklore Exhibition.” Paria Publishing, 18 Nov. 
2020, https://pariapublishing.com/exhibits-museums/the-spirits-of-trinidad-and-tobago-
exhibition/.  
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Taylor, Jeremy. “LeRoy Clarke: Warrior Art.” Caribbean Beat, 27 July 2021, 
https://www.caribbean-beat.com/issue-15/warrior-art-leroy-clarke#axzz7QqEx8d9b. 
Accessed 15 Apr. 2022.  
 
 
 
33 
 
 
APPENDIX A 
 
 
Appendix A: Photo of LeRoy Clarke. 
 
 
a 
 
 
APPENDIX B 
 
 
Appendix B: Article by David Brizan  
 
A