Mas Quarterly Magazine - Issue 14 by Mas Transformation Secretariat

BRIAN

Mac Farlane MESSENGER OF CHANGE

PETLEMAS THE family party band The kind of band you choose when you want to party on the road but don’t want to get lost in the crowd.

‘FESTIVAL is we’ in sweet t&t

A Caribbean Carnival network?

Festivals are a celebration of ‘all that is we’, and engaging seriously in ‘Festival Tourism’ is symbolic of our tourism product development done to perfection.

Exchanging best practices and marketing strategies in order to improve existing management models and better position Mas as a global cultural product for export.

JUL - SEP 2016

ISSUE 14

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T R A N S F O R M I N G Editorial Team Mahindra Satram-Maharaj Kennedy Pemberton Publisher Eidetic Publishing On Behalf Of: Mas Transformation Secretariat (Mas Trans) Editing & Design Eidetic Creative Writers Roslyn Carrington Sueann Ramsingh Carla Cupid Carol Quash SaďŹ ya Reid Sheldon Waithe Production Consultant Kennedy Pemberton General Photography Emma Lent Joseph Real Vibes Photography Rainier Lange Sandwich Media (YUMA)

Mas Quarterly is published in March, June, September and December annually, for the Mas Transformation Secretariat, 59 Churchill Roosevelt Highway, St. Augustine, Trinidad and Tobago. This publication is of a general educational nature and is intended to complement other professional information about the Business of Mas/Carnival.

Mas Trans and its agents have made reasonable eďŹ&#x20AC;orts to ensure that the information contained herein is accurate, and accept no liability (even if negligent) for any injury, loss or damage caused by reliance on any material presented.

M A S

I N T O

B U S I N E S S

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Chairman’s Message

Brian Mac Farlane Messenger Of Change

ICTs For Innovation In Mas

PetleMas The Family Party Band

‘Festival Is We’ In Sweet T&T

Redeemer Creations Spawns A Legacy Of Its Own

Nikolai Noel Apprentice Of Creativity

Real Vibes Photos For Carnival 2017

A Caribbean Carnival Network? The Association Of Caribbean States Has You Covered

Paparazzi Frenzy!

Enjoy A Lime Its Good For You!

WHAT’s INSIDE

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Chairman’s Message Mahindra Satram-Maharaj

Welcome back to one and all. Mas ‘Band Launch Season’ is

Chairman/CEO - Mas Transformation Secretariat

Minshall, and he is not shy about getting his hands dirty.

back once again, and we are pleased to release the 14th Issue of Mas Quarterly Magazine - a business Magazine about Mas

Clearly, the evolution of Mas from a two-day Carnival event to

-for your reading enjoyment.

a fully ﬂedged industry requires tremendous and widespread support. We are therefore pleased to highlight the input of

In this edition, we sat down with Mas prodigy Brian Mac

the Association of Caribbean States (ACS), in pursuit of its

Farlane for a special interview in the midst of his extremely

mandate to boost cultural cooperation. Can you believe that

hectic schedule. We invite you to join us on page 10 as Brian

under the ACS, Regional Governments have successfully

outlines his vision for our Mas, and provides clarity on how

negotiated and launched a Caribbean Carnival Network? This

Mas can become a true representation of who we are as a

is an impressive step in the right direction, and Saﬁya Reid

culturally aﬄuent people. Importantly, while creative

shared the inside scoop with Mas Quarterly Magazine.

engineers like Mac Farlane directly weave the cultural fabric of Trinidad and Tobago, agencies like the Caribbean Industrial

Now is the time for lights... camera... action! Just like on the

Research Institute (CARIRI) are also lending their support to

red carpets with Paparazzi going crazy, Trinidad and Tobago

the development eﬀort. In this regard, CARIRI with the help of

has its very one Paparazzi Carnival, and they have worked

the Inter-American Development Bank must be credited with

Masqueraders into a frenzy. You guessed it, these are the ‘new

leveraging Information Communication Technologies (ICTs) to

kids’ on the block, oﬀering both a premium ‘on the road’

help drive innovation within our Creative and Cultural

Carnival experience as well as specialty events that keep their

Industries.

fans in a craze. Don’t forget, let’s stay healthy all year round, and we encourage you to ‘Enjoy a Lime’ - because it’s good for

This Issue also reminds us of the importance of family, with a

you.

feature on Petle Mas – as the Family Party Band. For them, keeping a close-knit, fun and family atmosphere is the

As always, Mas Quarterly expresses sincere thanks for the

cornerstone of their business model and one which continues

unwavering support of the stakeholders that make what we

to yield dividend into their 5th year of operation. Of course,

do possible, especially our Corporate Partners like the Tourism

Carnival is just one of the eclectic festivals that is

Development Company (TDC), the Lollabee Group and TRINRE.

synonymous with Trinidad and Tobago, but don’t take our

We also give a special salute to Caribbean Vascular and Vein

word for it. Instead take notes from Carla Cupid of the Tourism

Clinic, Caribbean Aesthetic and Laser Institute, Gulf View

Development Company (TDC), as she outlines the annual

Medical Centre, Caribel, Solo Beverages and Blue Waters.

‘Trinbagonian’ festival calendar for the delight of residents

Keep reading, and we encourage you to share and like us on

and visitors alike.

Facebook for the latest updates, tips and giveaways. Happy reading, and feel free to contact us if you have an article you

With such a plethora of festivals where would we be if we were to neglect our indigenous roots? Well, Mas Quarterly has you covered, and this edition shines the spotlight on the indigenous band Redeemer Creations, as part of our dedication to keeping traditional Mas alive. Similarly, talented youth are always welcomed and we made sure to have a chat with Nikolai Noel, a past apprentice for Mas icon Peter

would like to contribute.

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BRIAN

Mac Farlane Messenger of Change By Roslyn Carrington

With seven consecutive wins, Bandleader Brian Mac Farlane holds the record for Band of the Year at the Savannah. He has become a household name in Carnival, with a fiercely loyal following (and quite a few critics), and a style so recognisable that to onlookers lining the streets on Carnival Tuesday, his identifying banners are almost redundant. Which is why, when a man of his stature makes a plea on behalf of the festival he loves so dearly, the powers that be would do well to listen. The change he is begging for, however, is not for a move towards something new, but a return to the traditions and foundations that once made this festival great. Mac Farlane has been actively involved in Mas for over 40 years, having begun his apprenticeship with Raoul Garib at the age of fifteen. His potential became immediately obvious, and soon he was working on Kings and Queens. He looks back on that era with nostalgia. “In those days, Individuals were a big thing. The costumes were very large. Now there’s not as much creativity in their design as in days gone by. People aren’t taking as much of a risk.” He reminds us of the big risk-takers — Peter Minshall immediately comes to mind — whose costumes were so different, so memorable, that they changed the face of Carnival, having an impact not just in their year, but permanently influencing how we view costume design. Possible risks included a concept so different that onlookers could not understand it, or a design so precarious that an

ignominious fall on stage was a frightening possibility. “Minshall was truly a vanguard,” he says. Mac Farlane himself has taken up the challenge to offer high-concept individuals, such as the Queen of his 2011 band, “Humanity, Circle of Life”, whose massive costume was precariously balanced on stilts. Even the now-legendary Jha-Wan Thomas of ‘Dying Swan’ fame first took to the Big Yard on stilts as a Mac Farlane King, with his 2008 portrayal of “Pandemic Rage”. These days, Mac Farlane reflects sadly, bandleaders are more cautious and or afraid to put a possible victory in jeopardy by trying something new. After several years of working alongside and playing Mas with Peter Minshall, Mac Farlane remembers the moment he decided to strike out on his own. It had become clear that Minshall was not bringing out a band, so he registered with another, more traditional band. But his heart spoke to him. “I got up on Carnival Tuesday morning, and I said, ‘I can’t do this.’” That costume went unworn. “I watched the regurgitation of bands, and decided the time had come to live out my childhood dream.”

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In 2005 he launched his ﬁrst band, “The Washing, By Fire, By Water”, a medium band which, was accidentally judged in the Large band category Downtown, and still won. Victory followed victory, as each band stood out from the crowd because of its avoidance of ‘bikini and beads’ portrayals, and adherence to the tradition of fabric, ﬂamboyance, and a fresh new tale being told every year. His originality and love of a good story led to his being branded ‘the next Peter Minshall’, a title he dislikes. “I’d rather be known as Mac Farlane,” he insists. But he does agree that his design style contains elements of his two mentors; the intimacy, detail and complexity of Wayne Berkley and the broad palette of Minshall. Which brings us again to his plea for a return to tradition. “Our Mas is seriously threatened by the introduction of the basic bikini,” he says outright. “It allows many bandleaders to capitalise on a ritual, a festival of the people, by giving preferential treatment to those with ‘perfect’ bodies. They test the limitations of the law, discarding more and more of their costume, painting their bodies and calling it a costume. Why don’t we look at other creative ways to be sexy? Why does it have to be Lycra and other imported material? Why can’t it be burlap, rope, shells?”

“

And why don’t we look at other creative ways to be sexy? Why does it have to be Lycra and other imported material? Why can’t it be burlap, rope, shells?

”

“

The relevance is now more about shape and sexuality and toning of the body, dressing as if you are going to a photo shoot rather than to sweat and play Mas in the road in this ritual known as Carnival.

”

Other industries,have come on board, as masqueraders, mainly women, buy into the idea of perfectionism, including gyms and makeup artists. “The relevance is now more about shape and sexuality, dressing as if you are going to a photo shoot rather than to sweat and play Mas in the road in this ritual known as Carnival.” While it is true that we have always painted our bodies for Mas, this new version of it feeds into the insatiable need to be perfect. He also sees the mass-produced, imported bikini, which is cheaply available, as unfair ﬁnancial competition for bands that painstakingly craft their costumes by hand, right here in Trinidad and Tobago. More importantly, he laments the fact that the youngest generation will grow up not knowing what Carnival really looks like. “This is literally changing our culture.” His solution is to encourage Carnival to be taught in more schools. He himself does his part where this is concerned, entertaining school visits from all levels, up to and including tertiary students of festival arts from here and abroad. “I let them

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He is concerned about the Carnival face we put on for the rest of the world. “Wherever there is an international event, the host country puts on an opening show that speaks about the culture of that people. We did it with the opening of the Commonwealth Heads of Government Meeting (CHOGM). In years to come, what are we going to be showing?” He thinks that respect for the artform can also be fostered by better prizes and incentives, pointing out that the prize for Soca, Calypso and Chutney Soca Monarch is now a million dollars, and yet the prize for Band of the Year is only $300,000. Furthermore, we allow imported costumes to compete against locally constructed ones.

“

We need to encourage people if we want to spin things around. Have prizes of $50,000 or even $100,000 for the best traditional character. Let the youth rejuvenate these characters.

”

“We need to encourage people if we want to spin things around. Have prizes of $50,000 or even $100,000 for the best traditional character. Let the youth rejuvenate these characters.”

“

I feel a bit of energy. A bit of rebirth is happening. There’s promise in this rebirth – look at what K2K is presenting, or what Lost Tribe did last year.

”

He doesn’t believe the needs of tourism are being served, arguing that the young people who come to play in the party bands spend little. Yet the traditional tourists who would attend the public events and spend money have little to see anymore. “Original Carnival, with the picong that spoke to us, was what generated income.” But he’s still optimistic. “I feel a bit of energy. A bit of rebirth is happening. There’s promise in this rebirth – look at what K2K is presenting, or what Lost Tribe did last year. There are a few beautiful, creative cultural expressions of art, expressions of Trinidad and Tobago, on the streets of POS.” While he himself will be ﬁnished with Mas after his 2017 oﬀering, he would be willing to step forward again for one dream collaboration between himself and Peter Minshall, if Minshall were willing. “It would be glorious for history if Peter and I could do a band together just one year. It would be powerful!” Brian Mac Farlane can be contacted at: Address: 9 Rosalino Street, Woodbrook Phone: 1 (868) 625 8931 Email: macfarlanecarnival@gmail.com /macfarlanecarnival

/macfarlanecarnival

come here and tell them about George Bailey and Harry Saldenah.” He even employs apprentices from UTT’s Caribbean Academy of Fashion and Design, so they can gain hands-on experience.

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ICTs

for

Innovation IN MAS By Sueann Ramsingh

Small and Medium Enterprises (SMEs) though small in size and operation, are believed to be the drivers of economies; if they are well positioned. Trinidad and Tobago’s Masquerade Sector is one of the most developed segments of our Cultural and Creative Industry. There are over 700 Micro, Small, and Medium Enterprises (MSMEs) involved in our Mas, but through no fault of their own, many lack the resources necessary to implement Information and Communication Technology (ICT) solutions. The role of ICT in an emerging economy cannot be underestimated. The large majority of Mas SME players across the country are yet to tap into the potential advantages and beneﬁts embedded in the ICT sector. We also know that ICT is an important vehicle to improve the productivity of SMEs, to accelerate their growth, to increase their access to market information for decision making, and to reduce processing time. This suggests that there is a need for Creative Sector SMEs to embrace technology tools to enhance their businesses. The Mas Transformation Secretariat is pleased to establish a partnership with the Caribbean Industrial Research Institute (CARIRI) to help advance the Masquerade Sector of Trinidad Tobago, by participating in the “Improving the performance of SMEs through the application of ICTs” project. This project is key to supporting the Masquerade Sector of Trinidad Tobago, making CARIRI’s collaborative venture with the Inter-American Development Bank (IDB) in the area of ICT, signiﬁcant. The project objectives were: to improve the business performance and competitiveness of SMEs in the target sectors, and to increase awareness, use and leverage of ICT by SMEs in the target sectors.

CARIRI is a well-recognized name in the Region, and an invaluable Caribbean asset, providing services in laboratory and ﬁeld testing, consulting, research, development, innovation and training. Located at Innovation Avenue,

Freeport, CARIRI’s Centre for Enterprise Development (CED) is focused on building capacity and capability for enterprise creation, and the CED supports the Government’s strategic priorities of economic growth, job creation, competitiveness and innovation. The CED accommodates the full gamut of activities along the enterprise creation spectrum, i.e. from idea to market. It provides both accommodation and technical and business advisory support services to individuals and enterprises with innovative ideas/projects wishing to take these through the incubation (development) process to commercialization. The ICT project executed by CARIRI’s CED had three key components: Sensitization of SMEs Diagnostic Scoping Studies Intervention Programme To date, CARIRI has exposed over 500 SMEs to ICT and has been able to assist some of these companies in implementing ICT solutions in their businesses, with customized packages ranging from websites and a social media presence, to asset management software and customer relationship management software. The Mas Transformation Secretariat and CARIRI have directly targeted the Mas Community as a means of leveraging

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The team of IDB and CARIRI ICT

Passion Fruit Publishing La Ta Caille Kidz Victoria Creative Mas Company Showtime Carnival Everything Slight Pepper Guy-James Studio Keylemanjahro School of Arts & Culture Each SME underwent an in-depth interview which helped in identifying their immediate ICT needs and how ICTs can help streamline and automate some of their daily processes. Importantly, the culmination of the assessments will see the implementation of at least one ICT solution to assist with

challenges, thereby bringing the Mas Practitioners into a more technologically-savvy state of existence. On a larger scale the ‘Application of Information and Communication Technology’ project found that ICT usage within SMEs is moderate in common technologies. It was noticed that SMEs are taking a comprehensive approach to their ICT investment focusing on both strategic and operational aspects of their businesses. The results of the project show that SMEs are making reasonable investments in ICT and that there is modest competition among the SMEs. Findings from interviews speciﬁc to Mas Practitioners showed that there is a clear need for online/social media presence, digital records management and proper accounting systems within the Masquerade Sector. Importantly, all interviewed Mas Practitioners showed a willingness to implement recommended ICT solutions in order to increase operational eﬃciencies, and solutions will be rolled out shortly.

Technology and Intellectual Property to diversify the economy through the expansion of the Creative Sector. Thus, an assessment of opportunities for selected small and medium Mas Enterprises was conducted by CARIRI ICT specialists in order to help increase eﬃciency, lower cost or expand market reach, using information and communication Technologies. These Mas SMEs included:

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PetleMAS The Family Party Band By Roslyn Carrington

PetleMAS is the kind of band you choose when you want to party on the road but don’t want to get lost in the crowd. This medium-sized band is an oﬀshoot of Poison, where bandleader Petle Claverie once brought out a section. “When Poison closed down,” he explains, “we were with other bands. People wanted a wider range of options, but still wanted to be part of the PeteMAS family. So we said, ‘No problem’.” The band caters to about 400 masqueraders on average, with four sections being presented by external parties — Marlon Williams, Anthony Pryme, Ebun Samuel, and a group called Full House Productions — and the other two presented by Claverie himself. The band celebrates its ﬁfth year in 2017. They are in

“

We didn’t want to come up with an artsy name for the band; we wanted it to feel like a family. When we’re on the road everybody plays together. Everybody feels that closeness. That’s why our tagline is “Sexy, Intimate, Fun.”

”

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the process of establishing another showroom in Port of Spain, but in previous years were located on Ariapita Avenue. Their 2017 portrayal will be Savage Fairies, with brilliantly coloured Celtic-themed sections called Maurelle, Morcaido, Nyx, Roslyn, Sorcha and Xylia. Why are the fairies savage? To protect the environment. “Fairies are the caretakers of the Earth. They have to unite to stop its destruction.”

“

Mas is all about women. We’re all about keeping these women happy, to fulﬁl their dreams amidst all the stresses of life.

”

The launch took place on August 5th at Tzar nightclub on Ariapita Avenue. “It was a great launch,” he says. “Masqueraders came out!” They are planning a second event in September, where they will reveal more of the add-ons, such as larger wings and wire bras. Their demographic is quite wide, but the main target is probably women between the ages of 18 and 35. Men are catered for as well, but it’s a standing joke within the band that male masqueraders are essentially part of the PetleMAS team, in that they are there to ensure the female masqueraders are happy. “Mas is all about women. We’re all about keeping these women happy, to fulﬁl their dreams amidst all the stresses of life.” Many of the older players are there because they have known him for a long time. But the price point is also a source of attraction. Masqueraders who are looking for a pretty costume at a manageable price, especially in these economic times, are happy with what they have to oﬀer.

While, as usual, the models portrayed are dressed in the skimpier attire we are used to seeing on the road, Claverie does his best to satisfy the needs of women of all sizes, based on order. “We have monokinis, bikinis, high-waisted pieces; you name it and we do it.”

What sets the band apart from the others? Claverie says it’s the family atmosphere, which is reﬂected in the fact that he named the band after himself. “I’m the bandleader. We didn’t want to come up with an artsy name for the band; we wanted it to feel like a family. When we’re on the road everybody plays together. Everybody feels that closeness. That’s why our tagline is ‘Sexy, Intimate, Fun.’”

Costumes start just under $3,000, with optional add-ons, such as fairy wings, for an additional cost. “Not everybody wants big pieces, but you can have the option. That’s how we do it.” Ladies also get a full Monday wear kit, with tank tops and shorts.

At this time, they aren’t focusing on bringing out kings, queens or individuals, but the door isn’t closed to the idea in the future. “We want to concentrate on managing the band, and managing the road properly, before we focus on those technical items.”

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They are also known for providing the level of service and amenities masqueraders have come to expect from an all-inclusive. They oﬀer breakfast on Tuesday, and a catered lunch on both days, to remove the stress of having to search for a meal. Drinks, of course, are available, and mobile restrooms are a blessing for all. The band does compete, crossing every stage in Port of Spain, although in the past they haven’t focused on that element. “Traditionally everybody ended up as one, but next year we’ll focus more on keeping within the sections, so the judges can have a closer look.”

“

We’re a party band. Right now our focus is on bringing out good looking, quality costumes, so that a woman can come out on the road feeling good.

”

He reminisces about the days when a band relied on ﬂyers to spread the word, when patrons had to physically go to the Mas camp or the launch to see the costumes. Now, like most modern bands, they make ample use of available technology, spreading the word instantly via Facebook, Instagram, Twitter, YouTube, and, of course, their website, petlemas.com. “Now you can just click Send. All your followers see you.” The smaller size of the band poses some management challenges, however, in that it is not economically feasible to stock large numbers of costumes in advance. Since the majority of their players sign on early in the year, there is always a rush to produce costumes to meet the demand. “As soon as the radio DJs switch to soca at the start of the year, people say, ‘Oh, we have to play Mas!’ That’s when they get the Carnival spirit. That’s when they get excited.” Acknowledging the potential of Mas as a year-round business, he thinks that there are three main categories of providers who have the greatest chance of making good money within the Diaspora: producers, designers and event managers. He himself is open to expanding up the islands, but will exercise that option once the group is more established locally.

All the same, he doesn’t think the players care that much about the competitive element; they’re simply there to look amazing and have a great time. He refutes criticisms of “bikini and beads” Mas as being uncreative, saying that it actually takes a lot of creativity to produce fresh new looks every year, working with such small spaces. “Mas is in the eye of the masquerader. And there are options for all types of masqueraders.” As an oﬀshoot from Poison, and having brought sections with other bands before ﬁnding himself in direct competition with them, are there any tensions between him and other bandleaders? He doesn’t think so. “People leave bands for many reasons. Sometimes because of growth — you’ve gotten so big that it’s time to move on. Maybe you have issues with how the band is performing. But eventually we all end up in meetings together. It’s not a war.”

His greatest Carnival moment is standing at the foot of the stage, watching his masqueraders ramping up their energy, on the brink of stepping on. “It’s a fantastic thing to look down the track and see people dressed in something that, six months ago, was just an idea.” Any ﬁnal words? “We’ve been consistent with our quality; we haven’t had any experiences with costumes falling apart on the road. We’re high energy; we don’t stop to rest in a park for two hours. We go from sun-up to sun-down. We’re a party band. Right now our focus is on bringing out good looking, quality costumes, so that a woman can come out on the road feeling good.”

Petlemas can be contacted at: Mr. Petle Claverie Address: 3 Ariapita Drive, Woodbrook, Port of Spain Phone: 1 (868) 342 4314 Email: info@petlemas.com

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IN SWEET T&T Marketing Trinidad and Tobago’s Carnival to the world has always come down to the decision of ‘should we?’ or ‘shouldn’t we?’ and if we should, then ‘how should this activity be successfully implemented?’ This period of revelry and mental abandon has historically accounted for eight to ten per cent of total yearly visitor arrivals, typically for a period of nineteen days, prior to Carnival Monday. This makes Carnival a signiﬁcant draw for visitors and also presents an opportunity to leverage its popularity.

Trinidad and Tobago’s Carnival Trinidad and Tobago’s Carnival is not only called the ‘Greatest Show on Earth’ but also has the moniker of ‘The Greatest Festival’ and this sets up a treasure trove of marketing segues. During any of TDC’s marketing eﬀorts, interaction with the travel trade and consumers, show that Trinidad and Tobago is synonymous with Carnival and this perception is simple to build upon given our cultural and historical assets. Apart from Carnival, festivals on the whole are representative of the vibe, the culture and the spirit of our people. From a tourism marketing perspective, laying out some of Trinidad and Tobago’s festivals calendar style will unearth at least one festival per month around which one can plan a vacation to the twin isles.

Festivals - in Trinidad and Tobago parlance - are a celebration of ‘all that is we’, and engaging seriously in ‘Festival Tourism’

By Carla Cupid – Tourism Development Company

is symbolic of our tourism product development done to perfection. Our calendar year is book-ended by Carnival, as the beginning of the year signifies the start of this festival, and coming towards Christmas band launches are the order of the day. After all, copious amounts of attention must be paid to costume choices, early bird airfares and availability of hotel rooms. February is typically Carnival month and depending on the forty days of Lent, these two days can sometimes occur in the month of March. This month also ushers in the official start of the turtle watching season when the prehistoric behemoths find their way to Trinidad and Tobago’s shores for nesting. March 30th is ‘Spiritual Shouter Baptist Liberation Day’ and is the culmination of up to two weeks of activities. This festival celebrates one of the few religions that are indigenous to these islands, it sets a story that is unique to this destination – one into which journalists can sink their teeth, and travel agents can use to romanticise about their client’s next vacation. If the trend in world travel is exhibiting a shift away from the Triple ‘S’ Model (sun, sea and sand) and towards having experiences linked towards culture, heritage and customs, then Trinidad and Tobago, without too much effort is already set up to ride this wave.

Tobago Jazz Experience

In the month of April this already lively destination turns it up just a notch with the ‘Tobago Jazz Experience’ on the island of Tobago. For three days Tobago plays host to international recording acts that in the past have included

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Earth Wind and Fire, Shakira, John Legend and Jill Scott. This festival is becoming a staple on the Tobago events calendar and is a serious rival to other more established jazz festivals. When someone makes the previously obscure statement, “April is jazz”, it now only means one thing - The Tobago Jazz Experience.

July into August is also the Tobago Heritage Festival where one can experience the traditions, dances, music and culture in many quaint villages and while it is widely accepted that Carnival is concentrated to Trinidad, this festival is a Tobago thing. This is followed by the ﬁrst day of August which is ‘Emancipation Day’; celebrating the liberation of African slaves. Trinidad and Tobago was the ﬁrst country in the world to declare this day a national holiday! Blue Food Festival

Tobago Jazz Experience

June and July appear to be the months when the bounty of both sea and land are celebrated with a plethora of fishing tournaments and fruit festivals. From game fishing, fishermen festivals and harvests to festivals celebrating mangoes, avocados and breadfruit, if you consider yourself to be a combination between a festival and food junkie, these two months are your best bet.

Traditional Medley Of Tobago Dances

Tobago’s Blue Food Festival captures October, and is rated by CNN as one of the top five festivals to visit in the world, where the root crop known as ‘dasheen’ takes centre stage in fried chips, cakes, pastries and ice cream. Continuing throughout the rest of the year there is ‘Divali’ (the Hindu Festival of Lights), and Christmas, and Carnival comes a-calling once again. Any discerning visitor can place a calendar on a wall, close their eyes, affix a finger and select a date that is either close to or during a ‘Trinbagonian’ festival. Trinidad and Tobago appears to be in a perpetual state of celebrating its music, culture, heritage and energy. The Home of Carnival is an understatement - Trinidad and Tobago is quite simply the Land of Festivals!

Divali - The Hindu Festival of Lights

May celebrates the beginning of the destination’s East Indian heritage with ‘Indian Arrival Day’ on May 30th. East Indians account for almost half of Trinidad and Tobago’s population and the diaspora have spread far and wide across North America and parts of Europe. Indians from the Asian subcontinent and have shown great interest in Trinidad and Tobago, as these comparatively small islands are said to be an extension of their culture and customs, albeit in the Caribbean.

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SPAWNS A LEGACY OF ITS OWN By Carol Quash

Richard Thomas is one of those people who takes his heritage and his Mas very seriously. So much so that he transitions his knowledge of his lineage into Mas. The First Peoples descendant is the leader of Redeemer Creations, a Mas band based in La Horquetta, in the Borough of Arima. “My ﬁrst Carnival experience was through the Roman Catholic church when I was about eight years old. That year I played in Caribbean Arawak. From then I loved it and never stopped playing Mas,” Thomas tells Mas Quarterly.

Thomas formed Redeemer Creations in 2012, and unlike some other Mas bands, he says it is all about creating awareness about one of the major aspects of the country's history. “My band is diﬀerent because I am promoting culture – the culture of the First Peoples. I try to stay away from beads and bikini. Not that I have anything against it. Just that it’s not my style. I want people to know that the descendants of the First Peoples still exist throughout the country and are proud of their heritage.”

music truck man charged me $26,000 for music for the two days,” he chuckles. “But I have plans to buy a truck and have my nephew play the music.” In the meantime he works with whatever little money he can inject into his work and the support he gets from his two sponsors. “I can't get a bank loan as a small band leader. Banks don't give small bands loans because they consider it a high risk loan. During the year I make chains, earrings, etc. and use that money to help with band funding.

With regards to competition, Thomas says it has never been a priority for him. “I never entered a competition yet. Mas is my passion and I just do it for the love of it.” But he hasn't taken it completely oﬀ the table. “If I have to enter competition I have to start very early and get proper funding. Entering a competition is something you have to plan out. You have to have your storyline and everything else planned out. But time will tell.”

“Michael Thomas of Thomas Cool assists with material for costumes, and the owner of Photo House, Roger Belix, who is also president of the Partners of First Peoples’ Association lends me a room to advertise my costumes.” Additionally, his best friend, Gary Benjamin, takes on the role of Public Relations Oﬃcer and he has someone in charge of advertising on Social Media. “I’m still trying to build a proper team.”

Based on his experience, the cost of putting a Mas band on the road, even a small band, is certainly not cheap. “To bring a band of about 30 people will cost over $50,000 and more. That will include the costumes, music and food,” The music, he estimates, is where the bulk of the money goes. “Once a

But although lack of funding has hampered his on the road presentations over the years, Thomas ﬁnds other creative ways to continue his awareness building and to stay relevant. “I opened Arima Carnival a few times. In 2014 I came out with The Medicine Man. But I was unable to open in 2015 and

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Photos courtesy: Emma Lent Joseph

The presentation was called Native.” And the experience was one of his most memorable in the Mas. "Those children loved it too bad; the principal, teachers and parents too. They said if they had known it was going to be that good they would have gone on the road.” He says because the parents were unable to pay for the costumes he had to find a way to be cost effective. “I used the white sugar bags to make the costumes and coceyea and straw for the headpieces. The children made their own bows and arrows and spears. The feathers were donated. ”I’m trying to promote the culture in pre schools and primary schools so I approach the schools and do workshops. Every year I try to do something in a school.” Thomas says his designs are well researched and created to look as close as possible to the ‘real thing’. ”I do my research before anything else. I go online and look at the different First Peoples tribes. South American tribes; Brazil natives, Amazon natives and I take the designs and transform them into costumes.” But he doesn't only rely on the Internet. His dreams sometimes furnish him with some of his most memorable designs. ”I always have a pencil and sketch paper by my bedside. If I dream something I will get up during the night and draw out whatever I dreamt. The next day, if I’m off from work, I will make it.” And what type of material does he use? “I find coceyea very interesting for headpieces.

When it comes to his Mas, Thomas says there is no ‘off period’ for him. ”Carnival is an ongoing thing. I do Mas right through the year. Sometimes on Ash Wednesday you will see me start drawing costumes. I only take a rest during the Lenten season. I respect that period and then it’s back to work for me.” He does both adult and kiddies bands, but does not dabble in J’Ouvert. “I never do J’Ouvert. To me that is mainly just a T-shirt, and is certainly not my thing. If I have to do a J’Ouvert band I will do it with full costume.” Redeemer Creations has, over the years, attracted approximately 30 masqueraders on an annual basis. But Thomas says he is hoping for a larger contingent in 2017. As Carnival and Mas evolves, Thomas has no intention of being left behind. “I see my band doing something different from any other band. I want my band to be in two places on the same day – playing in Port of Spain early in the morning and then finishing in Arima, my hometown, in the evening on both Monday and Tuesday. That will be Redeemer Creation’s signature from next year. That will be my footprint. And as time goes by you will see more designs, more technology, more science.”

Redeemer Creations can be contacted at: Mr. Richard Thomas Address: Phase 5, La Horquetta, Arima Phone: 1 (868) 643 0888 / 362 4663 Email: redeeemercreationstt@gmail.com

2016 because of budgetary issues. But I did something for the infants department of the Boys RC primary school in San Juan.

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Apprentice of Creativity By Carol Quash

Creating Mas is an art – a concept known only too well by artist and lecturer in the Animation Department at the University of Trinidad and Tobago, Nikolai Noel. But Noel didn't help in the creation of just any Mas. He worked alongside Peter Minshall, one of the most influential artists of his time, on the ‘Sailor Mas’ presentation “Ship of Fools” in 2003, and “The Sacred Heart” in 2006, which was used to build HIV/AIDS awareness. “I worked as an artist assistant,” Noel tells Mas Quarterly, still beaming with pride after all these years as he recalls his duties in the creation of the Masterpieces. “An artist assistant takes some of the load off the designer and allows him to focus more on designing,” he says of his role. “In both cases I was in charge of developing the visual IDs, logos, texts and branding the band.” As a result he worked in close consultation with Minshall, whom he fondly refers to as ‘Minsh’. “Minsh was like this huge figure in the creative world. It was really good to work with him. At that time it was pretty formative because I was a younger artist in my 20's.” His work as an assistant allowed him to see a side of Minshall that not very many people are privy

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to. “An artist assistant adopts an apprenticeship role. We had a lot of time to chat about his processes. I got some pretty decent insight about how he saw the world and his place in the world, and what he was attempting to do.”

The Heart of Hearts

The Heart of Darkness

He dispels any perception that working with an artist of Minshall's caliber is bound to be challenging, at least, not for him. “It was not diﬃcult at all. I think I understood the role I was going to play. I had no experience, know how or background to tell Minsh 'the Mas needs to be this way'. I was there to learn. We had meaningful conversations but his, far exceeded mine when it came to Mas.” He was quick to point out, though, that Minshall was in no way dogmatic. “There were areas when he would be in two minds about something and you could talk it through with him. Sometimes I would be a kind of sounding board.”

Photos courtesy: Stefan Falke

Noel holds the work of Minshall in high esteem and believes the bandleaders of today can learn a lot from the veteran Mas creator. “Carnival of the 80's, 90's and early 2000's created an interesting forum for the conversations that Minshall had.” He opines that although modern Mas seems to be at the other end of the spectrum, it has been influenced by Minshall's penchant for a visual narrative. “The interesting thing about how he has affected Mas is that I think most bands still strive for that visual narrative. Their performance rhetoric suggests that they do. This is acknowledgement that Peter Minshall was influential.” Noel has worked with Minshall on other projects that were not Carnival related, but he says of the two Mas projects, Ship of Fools was his favourite. “I actually liked Ship of Fools because it was a ‘Sailor Mas’ and it was a lighter lift. It was the better band for a number of reasons. It was more adventurous, there was more there to chew on, it was cleverer. It was my first experience in creating Mas.” And as it regards the evolution of Mas and the ongoing bikini and beads debate, Noel says his perception too has evolved. “I look at it much differently than I used to. I don't see it as something I can intervene in, but as a cultural expression. We (Trinbagonians) have this weird nostalgia that last year's Mas was always better. The Carnival that exists today is the Carnival that needs to be the way it is.”

Mr. Nikolai Noel can be contacted at: Email: nikolai.noel@gmail.com

So, does he have plans to create his own Mas? “No! My feeling about Mas is that it takes a certain amount of momentum to bring a Carnival band... My plans are to make art and continue my practice in Education. I'm politically committed to teaching.”

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Carnival 2017 It’s Here, It’s Here! Band Launch Season is here, and our Carnival Bands are ready to go. Let’s take a look at what we can expect for next year’s Greatest Show on Earth.

BLISS BAND LAUCH 2017

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PASSION BAND LAUCH 2017

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TRIBE BAND LAUCH 2017

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THE LOST TRIBE BAND LAUNCH 2017

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YUMA MEDIA

PHOTOS COURTESY SANDWICH MEDIA

YUMA BAND LAUCH 2017

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A Caribbean

Network

The Association of Caribbean States has you covered. By Saﬁya Reid - Research Assistant to the Secretary General, Association of Caribbean States

Today, turbulent global economic conditions have heralded transformations in the approaches toward achieving sustainable development goals. In particular, developing countries are now relying more and more on harnessing the value of organic commodities that could be exploited for economic beneﬁts. Cultural industries are one such example and constitute a viable pathway towards sustainable development.

Unsurprisingly, the festival of Carnival is renowned as the truest expression of the region’s pride in its cultural diversity. By taking the exquisite costumes, sequins and feathers at face value, it may be tempting to pass oﬀ Mas as festive frivolity, but at its root lies an organic business product. We in Trinidad and Tobago have even dubbed our Mas business as the ‘Greatest Show on Earth’, and as soon as the last tune on Carnival Tuesday brings us back to sober reality, we immediately begin to talk about doing it all over again. Yes, the Caribbean is one of the most tourism dependent regions in the world and in the case of Trinidad & Tobago’s Carnival; this pre-Lenten festival is the top tourism earner, attracting nearly 10% of the country’s total annual arrivals. Millions of dollars in revenue are earned and thousands of jobs are created in the support industries; telecommunications, handicraft, advertising, music, clothing, tour operations and

catering are just a few of the sectors that experience a surge in business activity during the Carnival season. During the Fifth Summit of the Association of Caribbean States (ACS) convened in Haiti in April 2013, the Heads of State recognized that the “great wealth of cultural diversity of the Caribbean region” constituted a solid basis on which plural pathways to development could be sought. Later that year the ﬁrst Meeting of Caribbean Carnivals was held in Barranquilla, Colombia and the notion of creating a Caribbean Carnival Network was formally proposed, along with regular Carnival Development Meetings and a Secretariat that would be headquartered in Barranquilla for two years. Finally, Trinidad and Tobago, Dominican Republic and Santiago de Cuba were nominated as possible hosts for the second Meeting of Caribbean Carnivals.

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At the 2nd Meeting of the Caribbean Carnival Network, convened in Panama City by His Excellency, Ambassador Alfonso Múnera, Secretary General of the Association of Caribbean States (ACS), in collaboration with Ms. Carla Celia, President of the Barranquilla Carnival Foundation, delegates from a wide cross-section of Latin America and the Caribbean met to discuss and propose future initiatives aimed at using the festival as a vehicle for social reconstruction, and to further realize its economic and business potential. Participants at the meetings of the Caribbean Carnival Network included Cuba, Colombia, Aruba, the Bahamas, Trinidad and Tobago, Grenada,

Honduras, Nicaragua, Panama, Haiti, Guatemala, Dominican Republic and Guadeloupe. As a repository of the ingenuity and artistic power of Caribbean people, Mas has transformed over the years into an important creative industry generating signiﬁcant economic returns for the respective Latin American and Caribbean countries. In light of this, a lot of the discussion at the meeting in Panama City surrounded developing support programmes and workshops for Micro, Small and Medium Enterprises (MSMEs) in the Carnival landscape such as costume designers, food and beverage providers and transportation suppliers, to improve their services and income. Importantly, these programmes are being developed in conjunction with the Ministries of Tourism, Culture and Trade of the various member countries. Although the Caribbean Carnival Network is one of the more recent projects on the agenda of the ACS, the organization has long been committed to strengthening the cultural ties of the Greater Caribbean. In fact, this commitment is evidenced by the Convention establishing the ACS in 1994, where cultural cooperation is inscribed as a vehicle for regional development. Some of the other activities of the Caribbean Carnival Network include the organisation of seminars, conferences and book fairs for the purpose of promoting cooperation and friendship among the countries. Preparations are already underway for one such event: The Cultura Caribe Festival, scheduled tentatively to take place in May 2017 in Barranquilla, Colombia. As part of the development thrust of cultural tourism and the creative industries, countries will be invited to showcase their diﬀerent cultural artefacts. So let’s get serious about developing Mas and Carnival as an industry, because the Caribbean Carnival Network intends to do just that!

By 2015, the ﬁrst oﬃcial Caribbean Carnival Network Meeting was held in Santiago de Cuba. A Formal Agreement was signed by several Member countries to establish the Network as a platform for concerted action in the area of cultural policy, exchanging best practices and marketing strategies in order to improve existing management models and better position Mas as a global cultural product for export. Thus, in keeping with the mandate to protect and promote cultural expression, the creation of a Caribbean Carnival Network is the culmination of the vested interests of ACS Members and Associate Member States.

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By Sheldon Waithe

‘There’s a new kid on the block’ is a very apt saying for 21st Century Mas, given the evolution of music, the embracing of modern technology and the change of culture in many bands, as various niches appear within Carnival. A band that uses a very 2000s moniker has identiﬁed its niche and tackled it with zest, as it satisﬁes the growing needs of masqueraders on the road.

the Paparazzi. In the words of Lady Gaga:

The name “Paparazzi Carnival” tells you all that you need to know about the band. Carnival is a show to be seen and you dear masqueraders, are the actors performing before a ﬂashlight frenzy within the rolling red carpet that is this band on Carnival Monday and Tuesday.

I'm your biggest fan I'll follow you until you love me Papa-Paparazzi Baby there's no other superstar You know that I'll be your Papa-Paparazzi’”

The bandleader oﬀers a glimpse of the philosophy behind the name. “Carnival is the greatest show where we the masqueraders are the performers. When we hit the Savannah stage we perform for the cameras and revel in the ﬂashes of

‘We are the crowd We're coming out Got my ﬂash on it's true Need that picture of you It's so magical

From the outset the culture is clear. ‘Premium’ is a word that is associated with all of the band’s activities, from registration, to the quality of service, the costumes and drinks and DJs on the

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Paparazzi is also acutely aware of the need to stay on top of the game, “given the many choices masqueraders now have in selecting a carnival band, the demand for good service and value for money has increased.” So what is the band’s unique selling point, in keeping with its stated aims and in a sector with stiﬀ competition, both existing and emerging? “One of the unique selling points of Paparazzi is that we

deliver excellent service from registration to when the DJ plays the last song on Carnival Tuesday. We also try to keep our prices down and our registration process simple and easily accessible so that this one of a kind experience is within the reach of many. Finally, and key to our success is that we keep the band at a size where we can deliver a personalized and secure service.” Understanding the need to cover the full spectrum of Mas is a key to success in this industry, and Paparazzi recognises this principle by paying close attention to maintaining their premium quality experience. Too often bands swell from popularity, word of mouth of their quality spreads and they welcome all, resulting in economies of scale that provide financial benefit but at the cost of a diminished service to the masquerader. Then, as the quality flounders, new bands emerge promising the same.

With this in mind the bandleader confirms that there will be no compromise on the ability to deliver and the band’s population is currently 1200-1500 persons, with a cap at 1500. With the focus firmly on Paparazzi Carnival’s production on the road, there is none of the distraction of expansion, yet. “In addition to the band launch we have one annual event 'TanLines' a cooler cruise.” There is however, a signature product - all good bands should have one - ‘The Pop Up Lime’. Aliyah provides the details: “The Pop-Up Lime is one of our signature products and is designed around our Friday night lime at the Mas camp. The difference with the pop up lime is that it is only announced on the day of the lime so you have to be following us on social media in order to know about it. We provide drinks, music and a great opportunity to meet fellow masqueraders so come Carnival Monday we all know each other by name.” It’s a handy way to keep guesswork as part of the attraction of the product, as part of the vital

approach to stay competitive. “We of course use social media - Facebook, Instagram and Twitter. Our on line registration has also made it easier for overseas masqueraders to have access to the band via our website.” For 2017, online visitors will have been bombarded by the explosion of colour that is ‘Sky Gazers - From Sunset to Sunrise’. “The theme Sky Gazers is a reflection of all the colors and formations that fill the night sky, so this is what we will reflect on the road on Carnival Tuesday. We also include Monday wear as part of the package which will also reflect the colors of the night sky.” With all the premium add-ons such as free Monday wear, local and foreign DJs, mobile restrooms and a leisure vehicle, together with a clear determination to begin the way they intend to continue, it’s Paparazzi that has caught the people’s gaze.

Paparazzi Carnival can be contacted at: Address: 22 Murray Street, Woodbrook, Port of Spain Phone: 1 (868) 627 3608 Email: info@paparazzicarnival.com

day. “Paparazzi was formed out of a love for carnival and to satisfy a market that desired an intimate, quality road experience.” The bandleader also suggests that the experience forms part of the crucial process of being able to deliver that satisfaction. “The main persons that formed the band were actually various groups and individuals that had been part of two large carnival bands (now defunct) where much of the experience was gained in customer service and road management. Two key priorities of Paparazzi Carnival.”

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In Trinidad & Tobago, it’s a well established fact that a lime is good for you. The lime is intrinsic to our society; some would go as far to say that a lime is the very foundation upon which our culture is built. It relieves the stresses of daily life, keeps you looking young, and is good for your overall health; as such, a lime is taken in daily doses. Of course, the REAL lime — the citrus fruit, not the social gathering described in our introduction — may provide the same benefits, and so much more.

he first thought that comes to mind is that limes are for cleaning food or for use as an adornment for various beverages. It’s universally used as an ingredient in many recipes, from salad dressings to sauces, but while we’re providing that unique zesty kick that only limes can deliver, we’re also imbuing our body with all kinds of healthy benefits from this versatile little wonder fruit. From the days when pirates roamed our seas, limes were crucial to the health of sailors, who required the high dose on vitamin C contained within to combat scurvy. The sour taste disguises the high content of this crucial daily vitamin, but limes contain as much VitC as their orange cousins. The acidity of the lime also provides essential maintenance for the body. Acids are good, and in this case the lime content in your food or beverage stimulates the digestive system, getting the required juices of the stomach flowing, ready to process the intake and ease digestion. This is why the lime pickle has been present on the lunch or dinner table for many years across south-east Asian regions.

The process does not end there, for limes also further the cleansing system by aiding as a purgative. Those ever-helpful acids clear the excretory system, while its roughage will ease constipation issues. As if this super-fruit did not already contain enough healing properties, its high potassium content acts as a disinfectant for the bladder — curing infections in the urinary system — while also clearing the calcium deposits that block the urinary tract. The high anti-oxidant properties of limes bring numerous benefits, not least the detoxifying effect on the body’s organs via its vitamin C and flavonoids (a metabolic compound with numerous healthy benefits, ranging from digestive to anti-inflammatory). While these qualities bring to mind the lime’s reputation for skin rejuvenation and providing key ammunition in the battle against aging, the lime also contains strong anti-oxidants. Most of us would have been introduced to lime’s healing benefits from an early age; think back to your first colds and fevers and being given a mixture

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or papaya root, and massaged into a muscular ache. Of course, you can just bypass all of the above and bite straight into a slice of lime; it’s the direct route, if your taste buds can handle it!

The humble lime’s versatility extends to the methods of delivery to the body. From the ubiquitous lime juice taken orally when mixed with the likes of hot water, honey, coconut oil and spring onion, through to limes applied directly to the scalp (prevents dandruff) and the skin (heals abrasions, discolorations, etc.)

It’s amazing to think that this little fruit can provide such a scope of health benefits in such generous quantities. The lime punches well above its weight and is included in so much of our culinary customs that the chances are that you are already benefitting from its contents.

The skin of the lime can be ground and added to salads and drinks, not just for flavour but also for the high sources of fibre and magnesium contained within. It extends further; lime roots and leaves can be boiled or mashed, made into a paste with alcohol

So next time that slice of lime clings to your drink or appears in your meal, think of the variety of ways it is helping your body. After all, like liming, limes are exceptionally good for you.

Article was originally published in the U Health Digest Issue 23 uhealthdigest.com

of lime and honey to soothe the aches and help aid recovery. This age-old remedy relies on the powerful punch of vitamin C to kill viruses; hundreds of years from now we will probably still be reliant on it. It is also worth mentioning that lime juice is recommended to diabetics to stew chicken. It is used to “brown “ the meat instead of sugar.

Incorporated in 2011 under the Trinidad and Tobago Companies Act, the Mas Transformation Secretariat was formed to implement the projects emanating from the National Carnival Development Foundation's (NCDF) Strategic Transformation Plan. Thus, the Secretariat is mandated to transform the Masquerade (Mas) component of Trinidad & Tobago’s Carnival from being viewed as just a Cultural Activity into a Sustainable Industry. The Secretariat continues to partner with several Private and Public Sector Entities and some of its successes to date include: 1. The conceptualisation and publication of Mas Quarterly Magazine - the ONLY Magazine that highlights the Business of Trinidad and Tobago’s Masquerade (Mas) for Global Export. 2. The development of Standards and Quality Criteria for Mas with the National Training Agency (NTA). 3. Completing Phase 1 of the ‘Mas Gone Green Initiative’ by undertaking a Baseline Study and Green Carnival Costume Exhibition as tangible steps towards ensuring that Trinidad and Tobago’s Mas becomes 100% Environmentally Friendly within the next 3 – 5 years. 4. Executing ‘Band Meets Band III’ as a family fun sports-day for members of the Mas Fraternity to show-off their teamwork, and interact with their supporters. 5. Securing 15 working agreements between Senior European Carnival Officials and local Mas Practitioners at Inbound Mas Trade and Tourism Mission 2015.

Contact Mas Transformation Secretariat: Oﬃce: 59 Churchill Roosevelt Highway, St. Augustine, Trinidad and Tobago W.I. Mailing: P.O. BAG 336, U.W.I, St. Augustine, Trinidad and Tobago W.I.

Interested in submitting articles or advertising in Mas Quarterly?

P: 868.223.4687 F: 868.223.8722 E: info@mastranstt.com W: www.mastranstt.com /MasTransformationSecretariat /MasQuarterlyMagazine

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