T R A N S F O R M I N G
M A S
HARTS DYNASTY 14
THE HISTORY OF ONE OF THE BEST KNOWN FAMILIES IN TRINIDAD AND TOBAGO MAS.
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ISSUE 2 JUN - AUG 2013
I N T O
B U S I N E S S
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CARNIVAL 360 DEGREES
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A TRUE FASHION ICON, CLAUDIA PEGUS
NEW MEDIA… AN AUGMENTED REALITY FOR CARNIVAL
HER TAKE ON FASHION & MAS
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THE HUMAN CANVAS 'THE ART OF BODY PAINTING NON TOXIC BODY PAINT BY BERGER
800-TRIN www.trinre.com
Editorial Team
Publisher Editing & Design Writers
Marketing Consultant Photography
Mahindra Satram-Maharaj Jean-Paul Pouchet Laura Rambaran-Seepersad Gisele Williams Keith Harry Deanna Dass Eidetic Publishing Eidetic Creative Carol Quash Roslyn Carrington Sheldon Waithe Dr. Keith Nurse Gerald Ragbir Desiree Seebaran
Jean-Paul Pouchet Andre Neufrelle
This information is of a general nature only and is not intended as a substitute for professional information about Carnival and Mas Business. Eidetic Publishing has made reasonable efforts to ensure that the information contained herein is accurate and up to date. To the extent permitted by law, Eidetic Publishing, their employees, agents and advertisers accept no liability (even if negligent) for any injury, loss or damage caused by reliance on any part of this information. Mas Quarterly also contains information supplied by third parties. This information is identified with the name of the source and has been chosen for publication because we believe it to be reliable. Mas Quarterly is to be published 4 times a year by Eidetic Publishing, Gaston Court, Gaston Street, Lange Park, Chaguanas, Trinidad and Tobago. Entire contents are copyright. Reproduction in part or whole is prohibited. Eidetic Publishing is in no way affiliated with companies or products covered in Mas Quarterly. Produced and printed in Trinidad and Tobago.
CONTENTS Chairman’s Message
07
Mas Quarterly Launch
08-09
Augmented Reality for Carnival
10-13
The Harts Dynasty
14-17
Preserving a legacy
Damian Whiskey: Midnight Robber
18-19
NCC Chairman Allison Demas
20-23
Spreading the message of positivity and creativity in T&T Mas
Claudia Pegus
24-27
Fusing street theatre and stage theatre
Mas 2013
28-31
Mix it up
32-35
Channelling the 3 Canal vision for Carnival
NEDCO and NCDF Partner to pump up Carnival Entrepreneurship
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Carnival Trivia
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Mas and the Economic Partnership Agreement
38-41
Human Canvas
42-45
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I
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MAS QUARTERLY CHAIRMAN'S MESSAGE Mas and Fashion can be successful as there's "very little difference between the two". Through these pillars she has created a dynamic and successful business.
Mahindra Satram-Maharaj Chairman / CEO Mas Transformation Secretariat
We welcome you back after a festive and exhilarating Carnival Season 2013. As we reminisce on the memorable times, we look forward to continuing to promote our Mas nationally, regionally and internationally.
Mas Quarterly had a successful launch to commemorate its inauguration. At this event, the blessings of our Minister of Arts and Multiculturalism, Dr. the Honourable Lincoln Douglas, were attained.
Featured in this issue is the Harts Dynasty. This stalwart family in the Mas fraternity has been in the business for over forty years. They are a good example of what Mas, as a business, can do for an individual and family, both personally and professionally. In the words of the Harts, "Mas is different things to different people" and "tradition is defined by a generation".
Immersive Media partnering with AM-In Motion have conceptualized the Carnival 360째 Experience. The use of innovation and technology in the form of special cameras showcases how Mas can be exported to the world live via 360 viewing. This cutting edge technology assists in making Carnival the ultimate experience and in the process branding Trinidad and Tobago more dominantly worldwide.
The vibrant Rapso band 3 Canal talks about maintaining the Carnival tradition while embracing modern technical and marketing strategies.
The NCDF is also pleased to announce its partnership Agreement with the National Entrepreneurial Development Company (NEDCO) in creating a funding mechanism for Mas Practioners. This facility will allow its members the opportunity to source financing for their Carnival productions within practicable times and under reasonable conditions. This "hand-holding" venture seeks to give Mas Practitioners a financial opportunity to further promote and establish their businesses.
The World Trade Organization Chair at the University of the West Indies, Dr. Keith Nurse, explains in this our second edition, the intricacies of the CARIFORUM-EU Economic Partnership Agreement (EPA), the opportunities for, and how it can be of benefit to, the Mas sector.
Giving a colourful end to the Mas Quarterly, Berger Paints shows us the versatility of body paint and its transition throughout history to the commercial product it is at present.
As we continue to transform and promote our Mas, we invite you to join our membership and be part of the Mas transformation efforts.. We are indeed elated to welcome you again and do enjoy!
Also featured is the renowned designer Claudia Pegus who states that Carnival is colour, a characteristic that is common in fashion as well. She shows how both
Cheers!!!
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Transforming Mas into Business The launch of a quarterly
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WHAT STARTED WITH REVOLUTIONIZING THE ONLINE MAPPING INDUSTRY WITH THE CREATION OF GOOGLE STREET VIEW HAS EVOLVED TO BECOME A PHENOMENON OF ADVANCED, EXPERIENTIAL MEDIA. FROM MAPPING TO PROMOTING THE WORLD’S LARGEST BRANDS SUCH AS MTV, INTEL, RED BULL, XBOX, DISNEY, NIKE, VIRGIN AIRWAYS, CNN, CBS, AND MERCEDES BENZ, AND EVEN AS FAR AS HELPING TROOPS IN THE US ARMY, 360° AUGMENTED REALITY TECHNOLOGY IS PAVING THE WAY FOR A NEW FORM OF DIGITAL MEDIA.
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Immersive Media, the inventors of the
360° Mobile Application’ will provide a familiar
technology, have recently partnered with AM-In
user-experience for tourists and will be a key access
Motion to design and conceptualize ‘Carnival 360°:
point to local services, information about friends and
The Ultimate Virtual Live Experience’. The patented
Carnival bands. More importantly, the built-in safety
technology allows this to be the world’s first live 360°
and management features will dramatically increase
Carnival event and the first live mobile 360°
the level of public security with prompt response
streamed event.
times to threats and visibility of the overall situation.
Through the uniquely designed 360° camera,
It has been clear that our country's
viewers will no longer be limited by a camera’s front
historical Carnival celebration has somehow been
view direction; they will now be creatively immersed
relegated to the shadows at an international level.
into the scene, surrounding the user with images
However, our addictive local experience may once
seamlessly displayed in every direction, providing a
again regain its presence on the world stage, as the
compelling augmented virtual reality experience. Users
introduction of ‘Carnival 360°’is set to attract a near
would be able to experience this via personal
40-100 million viewers worldwide with a guarantee in
computers/tablets and mobile phones, available at
the millions. Trinidad and Tobago would once again
users’ fingertips, using a mouse/touch screen/the
dominate with its exquisite Carnival experience,
navigation of their mobile device to click and drag
thanks to a mixture of new revolutionary technology,
anywhere within the frame of the video.
creativity and social media platforms. The global attention spanned from this project intends to
Ameer Al-Jaleel, developer at AM-In Motion, says the experience does not end there as top
impact heavily on the tourism, trade and industry of Trinidad and Tobago.
international app developers and engineers have partnered with AM-In Motion to enhance the ‘Carnival
Our history, our culture, our creativity
360°’ experience with the further development of the
spread through cross-platform technology and
‘Carnival 360° Mobile Application’, an integrated
social media platforms such as Facebook, Twitter
application that will give users a totally new hands-on
and YouTube, even highlights via mainstream media
experience of the Trinidad and Tobago Carnival that is
such CNN, BBC and Bloomberg. Thus making this
set to be available across all platforms.
historical event the ultimate Carnival experience and the overall brand of Trinidad and Tobago more
Users will not only have the option to
dominant across the world.
live-stream the event, but based on an effective geo-tagging technology with years of successful
For more information or questions you can email
usage in national parks across the globe, ‘Carnival
360@am-inmotion.com or call (1868)-478-8812
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Harts Dynasty The
preserving a legacy
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Article by Carol Quash
IT BURST INTO THE MAS ARENA IN 1961 WITH A SIMPLE DESIGN AND 140 MASQUERADERS WITH ITS DEBUT PRESENTATION “WAS THIS GREECE.” FAST FORWARD TO 2013 – 52 YEARS LATER – AND THE HARTS CARNIVAL BAND, FORMERLY KNOWN AS EDMOND HART, IS STILL MAKING WAVES.
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WHAT'S THE SECRET TO THE SUCCESS OF THE HARTS DYNASTY?
In the chaotic yet comfortable surroundings of their Woodbrook-based Mas camp, the second generation Harts Mas men and Directors of the band, Gerald and Luis Hart, disclose that there is no secret. It’s simply about good management and maintaining the band's core principles, while embracing the changes brought on by evolution and technology. “We have known Carnival and Mas all our lives. It was a staple in our home. When other children were playing with rattles, we were playing with beads and feathers. I don't know how we didn't choke to death.” Luis almost chokes on a chuckle. “Carnival is in our blood, and we will be here long after all the other bands are gone,” Gerald envisions with a smile. The band was founded by the husband and wife team Edmond and Lil Hart, whose aim was to give masqueraders a fun experience without the hassles that accompany the judging points. “When we took over the band I made a promise to my mother that it will continue to be family and friends oriented and not go corporate. I have kept that promise to her,” Gerald boasts. Under the leadership of Edmond and Lil, Edmond Hart went on to win five Band of the Year titles and pioneered a number of firsts in the Mas industry. “My mother was the first woman to get involved in Carnival as a designer. She got a lot of flak for that because in those days women were not allowed to do things like that. But she was a big fighter for women's rights. I guess that’s where Luis and I get that from.” Gerald beams, adding that growing up with four sisters – Aixa, Thais, Karen and Maritza – added fuel to that fire. In the 1970s the band was the first to introduce amplified steel pan music on the road, and DJ music trucks in the 1980s. And even when Gerald and Luis took over the leadership of the band following the death of Lil in 1990, the duo did some trail blazing of their own. “Harts the New Generation was launched in 1990, before mom died. We did our first presentation in 1991. “We were the first band to bring out security on the road. A lot of bands gave us flak, saying that would never work. A few years later, everyone followed,” Luis says. “Security was something I had always wanted to introduce. My dad and I had these horrible fights because he always said it was a public road. But the crowds were smothering the masqueraders, so I promised that the day I took over, come hell or high water, I was going to do it. My argument was if I park my car on a public road that does not give anyone the right to break into it,” he maintains. “We were also the first band to start online registration,” Gerald says of their ability to embrace technology. “We were criticized for that too, but then about four years later other bands began doing online registration.” In addition to being trendsetters, there are ways in which the fun-oriented band has managed to maintain its exclusivity. “We link all the music trucks together. Ours is the only band that does that. When we started it was through a radio station link. Now we broadcast to the trucks through our own wireless system,” Gerald says. “What we found was that with the close proximity of the trucks, there was an area of confusion where the songs overlapped. We decided to bring all the trucks in sync. That way it harmonizes the whole band. When the song says 'jump' the whole band jumps and moves as a unit. The energy of the band increases tenfold,” Luis explains. The sight of carts with drinks meandering through the masqueraders on Carnival Monday and Tuesday doesn't come as a surprise to Harts masqueraders. “We still have carts to deliver drinks. While all the other bands have drinks trucks, we use carts. It gives a better vibe. It’s like a cooler lime,” Gerald opines, adding that while Harts offers the all-inclusive experience, 90 percent of its masqueraders say they prefer to bring their drinks and get a cart. Gerald, the main designer, says the band caters for anywhere between 3,000 and 5,000 masqueraders, depending on the length of the season, and he designs between 18 and 29 sections based on the “vibe” he gets. “Nothing is written in stone.”
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His costumes are steeped in history, yet contemporary and in keeping with pop culture, and are all made from scratch at the Mas camp. The band contracts the services of approximately 70 workers during the Carnival season.
“We buy raw material and make all our costumes here. We contract workers for about three months part time, and they get paid per costume. Each person does all aspects of putting a costume together; wire bending, sewing, sticking, etc. “We have machines right here; they come, bring their crew and work right here so we can supervise the manufacturing process, so if a mistake is made we won't have to wait until the entire section is finished to find out about it. It gives them a sense of achievement doing a whole piece. We train people, too. Our workers are skilled in all areas.” But while thousands of Harts masqueraders on the road in full regalia is a jaw-dropping sight, Luis, who specializes in management and logistics, says there is a lot more than creativity involved in the business of Mas. “That's the thing with Carnival; it’s not all about being creative. That’s what a lot of people fail to realize. Carnival is a business. You can scream tradition and culture all you want. It runs on the principles of business. If you are going to survive, to a large extent you have to treat it as a business. “You design costumes and try to push them, but you are pretty much boxed in by your clientele as to what they're willing to accept. They are not going to buy the costumes if it’s not what they want. We cannot tell people what to buy. It really is a case of the tail wagging the dog,” he says. “I have an issue with some band leaders saying we are killing traditional Carnival. Think about it. The car you're driving is not the car you'd have been driving 20 years ago. Everything evolves. “It’s almost the right of the generation now to piss off the generation before. Carnival, like everything else, is driven by pop culture. The now generation determines what goes. I can't tell you what Carnival will be in the next 20 years. But whoever is playing Mas now may very well say, 'Remember back in the day, when we used to play Mas with nice beads and bikinis...'" his sentence trails off. Luis insists that band leaders and designers must analyze and understand what the masqueraders want, and design costumes to please their market. However, Gerald points out sometimes it becomes necessary to cut back and give masqueraders a version of what they want because they may not be able to afford what they want. “It’s a mixture of business and design. I always listen to complaints of masqueraders, because that informs me of what they want. It’s about the individual and their personality.” And to those who continue to criticize what Mas has evolved into, Luis directs, “We can't play Pierrot Grenade, Dame Lorraine and Midnight Robber for the rest of our lives. I'm not saying that we should give it up, but you cannot force people to play it if they don't want to. He maintains that “tradition is defined by a generation,” and that Mas has no right or wrong definition. “Mas is different things to different people. To you it might be about pushing pan, to another it’s about J'Ouvert, to another the beads and bikinis or drinking. There is no wrong way to play Mas,” he argues, and calls on some bandleaders to desist from criticizing the way other people choose to play Mas.
“Carnival has changed; it is about the designs of today. There are some people who don't like change. “They fear what they don't understand. But no amount of screaming and shouting about traditional Carnival is going to change what is happening. It’s either you get on the bandwagon, or get the hell off. Let the wagon go where it has to go. Carnival is a living, breathing organism and must be allowed to grow.” And although the band doesn't compete for titles anymore, he laments what he describes as a generational gap between designers and those judging the costumes. “We need to train our judges to see the differences between the costumes. These differences may be subtle, but they are there. The judges, too, need to understand the new culture.” The brothers agree that while they sometimes disagree, they have been able to weather the storms of change because of their familial ties, love for Carnival, experience, and good management skills. “There are three main sins, which, when combined, can make a deadly cocktail. Greed, envy and vanity. “Any one of those is enough to tear apart, so can imagine what happens when all three are present? “In some bands there is no love of Carnival and no glue that keeps people together,” he says, outlining the number of bands that have been spawned out of other bands. “Harts has always been Harts. Gerald and I will argue, but at the end of the day we know we have to do this. This is our family business,” Luis says. “Carnival is stressful, and while we all have our specific duties, we make decisions together, Luis and I. When I think he is better equipped to handle a situation than I am, he does it, and vice versa. “We know everything each other knows,” Gerald adds. And as far as street smarts go, “There is no band out there with as much road experience as Harts. People wonder how we always cross the stage first; it’s because we've been doing it for so long, we know exactly what to do,” Gerald says. Meanwhile, the Harts third generation eagerly awaits its turn at the helm of the family business. “Our six nephews and nieces and their friends will take over. They are already being trained for when that time comes,” Gerald discloses. However, that may still be some time off, for the brothers have their father's blood running through their veins, and are not yet ready to pass the mantle. “Dad is 90 years old and his brain is still sharp. Sometimes he works out figures for us,” he concludes.
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I am the ghost who walks The slave master who never talks A puppeteer without strings A notorious criminal mastermind with a billion unsuspecting victims...
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Article by Roslyn Carrington
Damian Whiskey
Midnight
R bber When you think Midnight Robber, you think of a grey-haired gentleman with roots steeped in traditions of old-time Mas, who can tell tales of the good old days of pan clashes on Green Corner, when Kaiso tents really did take place under tents. But reigning National Champion, Damian Whiskey, is barely 34, and has been accosting his “victims” with his robber talk since the age of 10. “I didn’t actually choose it,” he explains. “I was forced into it by a teacher at Belmont Boys’ RC. She wrote a speech and made me learn it for a competition. I was a nerd; I was terrified.” The contest was organised by Pearl Eintou Springer through the West Indian Heritage Library, and judged by the legendary Andrew “Puggy” Joseph and Brian Honore. “I had a straw hat, back shirt, black pants, and a cape made out of a garbage bag. I cut out skulls and bones from copybooks and stuck them on. I was shaking so much the cut-outs fell off.” Terrified or not, Whiskey placed second. Later, at a competition held by Burrokeets, Whiskey came up against the same two judges, head to head...and placed third. Impressed, “Puggy” had a word with Whiskey’s parents, and the next thing he knew, he was the newest member of “Puggy’s” band. He has been playing Midnight Robber ever since.
While other men his age are seeking out the hottest party band, he’s doing his part to keep the art-form he loves alive. He represented QRC from as early as Form One at Viey La Cou, the annual homage to traditional Mas. He kept on participating until the event stopped running. These days, he takes part in the national competition held the St. James Traditional Mas event, and other urban and rural contests. He’s often on Winner’s Row, but is certainly not in it for the money, as prizes are usually low. He makes his costumes himself, paying for them out of his own pocket, a testament to his selfless love for the art. “My material alone runs about $1,800,” he says. On Carnival Monday and Tuesday, you can often find Whiskey with a group of other traditional players roaming the streets of Port of Spain. No need for music: his audience is drawn to his daring dramatic speeches, which he writes himself. “It’s about interacting with the crowd on a one and one basis,” he explains. And they appreciate his efforts; many tip nicely, or ask to be photographed with him, especially returning nationals longing for a taste of nostalgia.
characters, are part of a dying breed, he’s quick to question you on that. It isn’t that people don’t want to see the characters, he thinks, but simply that the media doesn’t deem them worthy of coverage, preferring to cover parties and large bands. The solution? Make conversations of traditional Mas part of the primary school agenda. “They don’t necessarily have to participate, but make them aware of what the characters are and what they represent.” The rule of numbers suggests that of all the children thus exposed, there will be some who are interested enough to try it for themselves. But in the countryside, Midnight Robbers and their friends are alive and well. “When you go to rural Carnivals, it’s the traditional characters people come to see. Schools take part. Parents pass it on to their children. The media needs to pay attention to that.” So it is that this peaceful, soft-spoken man, who works by day as an accountant at a State enterprise, transforms by night into a black-clad marauder who threatens to bleach the bones of his enemies, turning words of violence and bloodlust into spine-tingling poetry. For more infomation contact:
But if you were to state that the Midnight Robber, and other traditional
Damian Whiskey at 868.682.8515
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NCC Chairman Allison Demas
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Article by Roslyn Carrington
Spreading the message of
Positivity Creativity and
in
T&T Mas
Newly appointed Chairman of the National Carnival Commission (NCC), Ms. Allison Demas, accepted the mantle of responsibility in November 2012 with confidence and enthusiasm. The copyright and entertainment attorney and CEO of Media InSite Ltd. is a Mas lover at heart, and is eager to see her vision for the organisation, and for T&T Carnival, come to pass. With just 3 short months to go between her appointment and Carnival 2013, Demas and her Board were faced with the urgent implementation of decisions that had been made by the previous Board, and by the interest groups represented on the NCC’s Board. “Since the decisions involved major changes to Carnival events,” she says, “there was no time to critically assess those decisions, nor to make any further changes.” Demas sees a lot of potential in some of the existing policies, but is looking forward to implementing some of her own ideas as well.
Carnival for job creation and income generation is exploited to its fullest. She points to the success of our Soca and Chutney artistes, steelbands and Mas band leaders, who are able to earn income year round, not only from Carnival in T&T but also by participating in Carnivals in the Caribbean diaspora and in emerging Carnivals beyond the diaspora. “I envisage the transformation of the existing Carnival Village, which has been held in the Savannah for 2 weeks during the last 3 Carnivals, into a Carnival City, both in Port of Spain and San Fernando, similar to Brazil’s Samba City. This initiative will provide support for education, training and entrepreneurship throughout the year.” One of the great untapped areas for development in T&T Carnival is the concept of Regional Carnivals, which nurture traditional Carnival arts in a family and community atmosphere. “Regional Carnivals, including Stick Fighting and the Canboulay re-enactments, should be more aggressively promoted as events of interest to tourists, researchers and the local community.”
Of course, the NCC is determined to make sure that the tremendous potential of
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While the input from participating artistes and craftsmen will be vital, the NCC intends to do its part by drawing on its seasoned team of organisers to help co-ordinate and source personnel and resources. And when it comes to looking outside of our borders, Demas sees T&T entrepreneurs having a critical role in international Carnivals by commercially exploiting trade links with foreign organisers. The products of local, especially festival-related creative and other industries, can be targeted to existing and emerging world Carnival markets. This, she thinks, can also help brand the T&T festival, along with local products and services. Of course, the NCC doesn’t envisage undertaking such a mammoth task on its own. The organisation works closely with its parent ministry, the Ministry of the Arts and Multiculturalism, along with the National Carnival Bands Association, Pan Trinbago and the Trinbago Unified Calypsonians Organisation (TUCO); as well as vendors’ groups; other Carnival band associations; City, Regional and Borough Corporations throughout Trinidad, and the Trinidad and Tobago Police Service. “I’m also keen to develop close working relationships with other Government Ministries and agencies,” she says, “including the Ministry of Tourism, the Tourism Development Company, the Ministry of Trade and Industry, the Ministry of
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Foreign Affairs, the Ministry of Planning and Sustainable Development and the Central Statistical Office, as well as the Tobago House of Assembly. I also think that it is important for the NCC to liaise with private sector organisations such as the Trinidad and Tobago Chamber of Industry and Commerce, the Trinidad and Tobago Coalition of Services Industries, and academic institutions such as UWI and UTT.” Readers will remember that, in the absence of clear guidelines concerning the taking, use and posting of Carnival photos on social media over Carnival 2013, rumours and misunderstanding abounded, leaving many amateur photographers unsure of their rights. With her history as CEO of the Copyright Music Organisation of Trinidad and Tobago (COTT), Demas seeks to clear up some of the confusion. “It’s impossible to explain in a nutshell the copyright issues that were prominently featured in the media during Carnival 2013. Unfortunately, the copyright system was portrayed in a negative light, due mainly to a lack of understanding of the complexities regarding the law, particularly in relation to the rights of the designers and producers of Mas.” The misunderstanding about copyright law was further exacerbated by confusing issues of media accreditation (which is basically giving media access to a venue to cover an event) with copyright licensing.
“Copyright laws all over the world seek to balance the rights of creators with the right of the public to access works which would otherwise be protected. Consequently, there are exceptions and limitations to copyright, including personal use and reporting news and current events. These exceptions and limitations mean that it is permissible for persons to post photos of themselves, family and close friends on Facebook if it is for personal purposes, or to use images of Carnival for reporting news and current events. “The other issue that arises in relation to copyright and Mas is that copyright only protects original works. Whilst the threshold for originality is low for copyright, it is still arguable that ‘bikini and beads’ costumes do not meet the criteria for copyright protection, and are therefore in the public domain. Also, traditional Mas does not qualify for copyright protection, one of the reasons being that copyright protection in T&T lasts for the life of the creator (of the design of the costume/character) to 50 years after the creator’s death.” The intellectual property system, she adds, is designed not only to protect right holders but also to provide an incentive to creativity and innovation by providing financial benefits. It is therefore important for us to understand what IS protected, what is NOT protected and who are the BENEFICIARIES of protection.
“We’re constantly faced with balancing interests that often seem at odds with each other. We have to balance the desire to monetise Carnival, ensure it is commercially viable, and create financial opportunities for practitioners and the NCC itself, against the need to preserve traditional forms and the creative essence of the festival.” This same creativity and innovation, bolstered by our natural exuberance and zest for life, results in the T&T Carnival model being in high demand in cities and countries all over the world. “The energy, music and artistry of our national festival continue to enchant international audiences, and several groups and governments have been approaching us for guidance in starting, organising and sustaining their own festivities.” In her view, Carnival represents a terrific opportunity for branding this country as a global Carnival capital. “We must grasp the opportunity to spread the message of positivity, creativity and fun that are hallmarks of T&T Carnival, by putting proper policies in place.” This all seems like quite a lot of work in the two short years of Demas’ appointment, but she and her Board are game to the task.
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Article by Desiree Seebaran
Claudia Pegus fusing street theatre
and stage theatre
CARNIVAL IS COLOUR, AS MAS AFICIONADOS KNOW WELL. BUT THE FESTIVAL HAS THAT CHARACTERISTIC IN COMMON WITH FASHION. BOTH MAS AND FASHION DEPEND ON COLOUR, FORM, AND A DASH OF THE THEATRICAL TO BE REALLY SUCCESSFUL, SO THERE’S VERY LITTLE DIFFERENCE BETWEEN THE TWO. JUST ASK CLAUDIA PEGUS.
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“
MAS IS STREET THEATRE AND FASHION IS STAGE THEATRE,” SAID THE FASHION DESIGNER. “THE VIVIDNESS AND CONTRAST OF THE COLOURS AS WELL AS THE STRUCTURES THAT ARE USED IN MAS FREQUENTLY FIND ROOM IN THE INFLUENCE OF MY WORK. I CAN EVEN SEE THE INFLUENCE OF FASHION DESIGNERS’ WORK ON THE PORTRAYALS OF CARNIVAL COSTUME DESIGNERS.
”
Pegus has a CV about a mile long, full of pioneering achievements in T&T’s fledgling fashion industry. She’s a board member of the advisory council of the Caribbean Academy of Fashion and Design at the University of Trinidad and Tobago (UTT), as well as an executive member of the Caribbean Fashion Industry Forum. She once chaired the Fashion Designers Association of Trinidad and Tobago and is still a member of its new incarnation, the Fashion Industry Development Committee, under the Ministry of Trade, Industry and Investment. Pegus even presented a paper on investing in the local garment industry at the International Business Fair in Holland and is also a member of the T&T Chamber of Commerce. Her design company produces both a haute couture brand and the CPFS label, a line comprised of ready-to-wear and career apparel. Internationally, Pegus is looking to establish a base in New York. She’s already producing made-to-order pieces for a small, exclusive clientele there and is hoping to set up a Manhattan showroom space before the end of 2013. She’s planning to go public in a big way for New York Fashion Week next February, with international brand and marketing executives helping to position the brand in the US. But despite her international reach and appeal, Pegus is rooted in T&T culture. On her website portfolio, there are no ‘spring’ collections, but you’ll see more than one labeled ‘Carnival collection’.
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“
I OPERATE OUT OF TRINIDAD, WHICH IS IN THE CARIBBEAN. MY FOCUS IS ON HIGHLIGHTING THE POTENTIAL OF THE CARIBBEAN, SO WHY WOULD I WANT TO USE THE WORD ‘SPRING’ IN FAVOUR OF ‘CARNIVAL’? she said with trademark directness.
”
According to the Claudia Pegus fashion blog, animal prints, sequined fabrics and bold florals were in for last year’s Carnival fabrics, which definitely corresponded to the bright, jeweled colours, in-your-face headdresses and First Peoples themes in the 2012 offerings of bands like Harts and Tribe. The designer has yet to actually design a Mas CARNIVAL WAS ALWAYS MY band herself. BUSIEST SEASON FOR RETAIL/WHOLESALE /CUSTOM-MADE PRODUCTION, SO THAT REQUIRED SOME BALANCING TO INCLUDE MAS.
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But for years she’s worked with clients who played individuals in various bands, enhancing their costumes, making them more edgy and elaborate. And look out, Anya Ayoung-Chee: I AM EXPLORING DOING SOME DESIGNING FOR CARNIVAL Pegus teased. 2014,
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Pegus herself plays Mas regularly; she’s ‘jumped up’ with Poison, Tribe and Harts.
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POISON IS NO LONGER AROUND, BUT AT THAT TIME, THEIR MUSIC WAS THE MOST INFECTIOUS. A LARGE PART OF MY CIRCLE PLAY WITH HARTS AND TRIBE SO IT WAS A NATURAL GRAVITATION. AND THE PRETTIEST PEOPLE PLAY IN HARTS!
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But from her designers’ perspective, Tribe, Bliss, Yuma and Fantasy are the bands on the road with the more fashion-forward designs. Still, truly groundbreaking design in Trinidad Carnival remains in the past, according to Pegus. Peter Minshall’s River trilogy presentations (1983-85) were, A FUSION OF FASHION AND THEATRE, she explained.
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Despite the international success of Pegus, Ayoung-Chee and other top fashion designers, as well as the success of Mas designers like Minshall and Brian MacFarlane, both industries are experiencing some difficulty in reaching successful commercialisation. Trinidad and Tobago Fashion Week (TTFW), begun in 2008, was cancelled in 2011 and 2012 amid rumours of internal disagreements and a lack of funding. Traditional Mas makers often bemoan the fact that they are called overseas to teach skills like wire bending, but that many bands in T&T actually outsource much of the production of their bands to China and India, so that the economy of Carnival no longer resides within the hands of Trinbagonians. Pegus understands the problems, but has a kind of no-nonsense, get-it-done approach when asked about solutions. Both industries have the creative talents; what they need is business talent, she said.
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TTFW IS THE ONLY MEANINGFUL BUSINESS PLATFORM FOR THE FASHION INDUSTRY, she explained, AND IT IS URGENTLY OVERDUE. T&T FASHION NEEDS TO BE DIRECTED WITH PEOPLE WITH BUSINESS EXPERIENCE. SO PEOPLE FROM THE BUSINESS COMMUNITY NEED TO TAKE CHARGE BECAUSE THEY ARE THE ONES WHO UNDERSTAND RISK AND MANAGEMENT.
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As for the successful commercialisation of Carnival, she’d like to see educational institutions place emphasis on Carnival studies, to develop the business of Carnival as up and coming practitioners learn the creative arts art of wire bending, costume design, and costume production as well as how to apply copyright laws pertaining to the protection of intellectual property and issues of product licensing to their creations.
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A DEPARTMENT OF CARNIVAL STUDIES AT THE UNIVERSITY OF THE WEST INDIES DEPARTMENT OF CREATIVE AND FESTIVAL ARTS OR AT UTT WOULD BE A GOOD START, she concluded.
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Article by Sheldon Waithe
MIX IT UP CHANNELLING THE 3 CANAL VISION FOR CARNIVAL
AS TRINIDAD AND TOBAGO CARNIVAL SEEKS ITS PLACE IN THE MODERN WORLD – AS A FESTIVAL, AS A RITUAL, AS A VIABLE BUSINESS OPPORTUNITY – ITS TRAJECTORY WILL BE DICTATED BY THE STAKEHOLDERS, THE THEORISTS AND THE ARTISTES. THOSE WHO WILL PLAN THE NEXT STEP FOR CARNIVAL WILL NEED A FIRM KNOWLEDGE OF THE PAST AND PRESENT, TOGETHER WITH THE NECESSARY VISION FOR THE FUTURE.
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The Rapso band 3 Canal falls into all these categories, with their maintenance of the strongest traditions of Carnival along with their embracing of modern technological and marketing strategies, allowing them to have their rhythmic feet in both camps. As such, they are the perfectly positioned to comment on Carnival’s direction, providing insightful observation and erudite suggestions. Singer Wendell Manwarren confirms the band’s view that a fine balance needs to be struck to get the best out of the festival and business avenues. Does he think that Carnival has the potential to Yes, but if we overemphasise the generate big profits? business side with too much efficiency, it will be at the expense of the festive part of Carnival. We are not yet taking the right direction for the future, with the primary focus on the business part, at the expense of nurturing Carnival.
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Manwarren points to an existing example as proof: the recent attempts to split the Dimanche Gras show over various nights with questionable and People need to see a King heavily criticised results. and Queen of Carnival crowned as part of the tradition of Dimanche Gras.
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There are new fixtures claiming their place on the Carnival landscape, and Manwarren highlights that just as Dimanche Gras should keep its traditional Carnival Sunday slot, the evolvement of ‘Machel Monday’ and latterly ‘Iwer Wednesday’ proves that there is room to incorporate the new with the old. 3 Canal have also laid claim to their unique space the festive calendar; their Carnival weekend show has just celebrated its 10th Anniversary with another rousing performance at the Little Carib Theatre. Their departure from the conventional rave-a-thon of grand fetes and all-inclusive parties has secured a faithful following that grows in number year upon year, seeking the innovativeness that Manwarren and his cohorts deliver with their interactive performances. The rationale for these shows was to use the band’s existence outside of the mainstream and There are bring back the recognition that while various outlets such as fetes, Carnival is also a time to make a statement, to strike a chord with the people. We wanted to do our own thing and since we came from a theatre background and the Little Carib was available, it was not such a crazy step to take.
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While Manwarren confesses to a lack of thorough knowledge in the bean counting department, to be able to confirm the levels of profitability (if any), he states that the show is viable enough to allow the band to reinvest the funds generated back into the fold and continue their work. 3 Canal offers a variety of Carnival products, and together with the support that they enjoyed from the early days of their show’s production, success can be found beyond the surface of Mas bands and fetes. Manwarren talks about 3 Canal’s marketing The world model is key. 3 Canal uses strong approach: lines of branded items and a strong sense of imagery for their J’Ouvert band, and recognises that music is now ‘given away’ in the hope of generating money from elsewhere. “This innovative marketing approach was displayed at our last Queen’s Hall concert where we placed a computer at the entrance and patrons could select 3 Canal songs to be burned onto a CD, ready for collection after the show.
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The mention of J’Ouvert brings us to another major effect that 3 Canal has upon Carnival: the existence of their traditional J’Ouvert band. It allows 3
Canal to extend their philosophy beyond their own stage and incorporate their wider following; a larger band emanating from the smaller band, if you will. But what is the intention with the J’Ouvert band – profit, tradition or a bit of both?
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J’Ouvert was a ritual. Manwarren’s answer We wanted to present an idea that showed J’Ouvert as a time of liberation and to influence a generation of band players. We started it all by singing about blue devils; the idea is to keep the habitual philosophy with the music, so we have the Laventille Rhythm Section. We use the feedback to help shape the beliefs. The expectation may be that of the all-inclusive bands but the only thing we are all-inclusive of is vibe! There is a hardcore set of followers that pay to play, but then hundreds more that simply join the band on the road; its one to one hundred in terms of those paying but the freedom of J’Ouvert is being able to freely join the band. The real challenge is how to make money out of that situation.
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One of 3 Canal’s songs Where do we go seems apt with as Carnival moves from here? forward, but given Manwarren’s assessment, the answer may be found in the title of another of the Mix it up. band’s songs,
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Know? Did you
Play Whe International Power Soca Monarch 1st - Austin "SuperBlue" Lyons Machel Montano
The first international Soca Monarch Competition was held in 1993, the inaugural winner being Austin Lyons (Superblue) with winnings of $25,000TTD. The prize for winning as of 2013 is $2,000,000.00! The term “Fantastic Friday” was coined by Anthony ‘Lexo’ Alexis who was a huge supporter of the International Soca Monarch and said “the Friday before Carnival is a special day because of the Soca Monarch Competition, it made everything fantastic and the day should be called - Fantastic Friday.” Angostura Limited was the first sponsor of the International Soca Monarch in 1993, and Carib Brewery Limited has been the longest standing sponsor of the event. Brian Mac Farlane is the first man in history to win the Large Band of the Year title seven consecutive times in the history of Trinidad and Tobago Carnival.
Sources: www.socamonarch.net
3rd - Rodney "Benjai" Le Blanc
Digicel International Groovy Soca Monarch 1st - Machel Montano 2nd - Neil "Iwer" Goerge 3rd - Dexter "Blaxx" Stewart Roman Garcia
Winners for 2013 carnival Band of the Year Band of the Year – Large 1.
Brian MacFarlane - Joy—The Finale
2.
Ronnie and Caro The Mas Band - The Mystery of the Cascadura
3.
Trinidad All Stars (Steelband) - Fleets In
Band of the Year - Medium 1.
Colorz Fuh So - The Conquest
2.
Wee International - Magnifique... Earth's Most Colourful Creatures
3.
Maurice Chevalier - SOBEIT 2013
Band of the Year - Small 1.
Belmont Original Stylish Sailors - Under D Big Top
2.
The Word And Associates - Leviticus
3.
Rosalind Gabriel and Village Productions - Revellers in Paradise
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MAS
AND THE
ECONOMIC
PARTNERSHIP AGREEMENT 38
Article by Dr. Keith Nurse, World Trade Organization Chair at the University of the West Indies
CARIFORUM countries (CARICOM along with the Dominican Republic) are the first regional group within the ACP to secure a comprehensive agreement with the European Union (EU) that covers not just goods but services, investment, and trade-related issues such as innovation and intellectual property. The CARIFORUM-EU Economic Partnership Agreement (EPA), which was signed in October 2008, reinforces and widens Duty Free Quota Free (DFQF) access for CARIFORUM goods into EU markets. In the services sector the EPA provides market access for Caribbean firms and professionals in terms of cross-border trade, investment, consumption abroad and temporary movement of persons in business services, communications, construction, distribution, environmental, financial, transport, tourism and cultural and entertainment services.
EU Services Commitments Entertainment services CPC 9619 (other than audio-visual)
96191
THEATRICAL PRODUCER, SINGER GROUP, BAND AND ORCHESTRA ENTERTAINMENT SERVICES
96192
SERVICES PROVIDED BY AUTHORS, COMPOSERS, SCULPTORS, ENTERTAINERS AND OTHER INDIVIDUAL ARTISTS
96193
ANCILLARY THEATRICAL SERVICES N.E.C.
96194
CIRCUS, AMUSEMENT PARK AND SIMILAR ATTRACTION SERVICES
96195
BALLROOM, DISCOTHEQUE AND DANCE INSTRUCTOR SERVICES
96199
OTHER ENTERTAINMENT SERVICES N.E.C.
One of the innovative features of the EPA is the level of market access obtained for entertainment services. The first key element of the EPA from the perspective of the cultural sector is the level of trade liberalization between the CARIFORUM countries and the EU, where for the first time the EU has made a comprehensive offer in the liberalization of entertainment services (CPC 9619) other than audio-visual services (see Box 1). The rules of the Services and Investment chapter and the general provisions of the EPA govern the liberalization of the entertainment and cultural services. Under the EPA, CARIFORUM countries secured market access commitments by 27 European states, with some limitations in two states, Germany and Austria. Once the EPA comes into force, these commitments will take effect immediately for the EC-15, within three years for the EC-10 and in five years for Bulgaria and Romania.
CARICOM is a regional grouping of developing archipelagic states. CARICOM has 15 full members: Antigua and Barbuda, Bahamas, Barbados, Belize, Dominica, Grenada, Guyana, Haiti, Jamaica, Montserrat (UK), Saint Kitts and Nevis, Saint Lucia, Saint Vincent and the Grenadines, Suriname, and Trinidad and Tobago. Germany limited its commitments to 96191 and 96192, and Austria to only Authors, and Dance Instructor services. Cyprus, Czech Republic, Estonia, Hungary, Latvia, Lithuania, Malta, Poland, Slovak Republic and Slovenia.
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THE PROTOCOL ON CULTURAL COOPERATION The Protocol on Cultural Cooperation provides the framework within which the CARIFORUM and EU Parties shall cooperate for facilitating exchanges of cultural activities, goods and services, including inter alia, in the audiovisual sector. In addition the Protocol aims to put into practice the UNESCO Convention and in so doing facilitate the implementation of cultural policies that protect and promote cultural diversity, collaboration with the aim of improving the conditions governing exchanges of cultural goods and services and to redress the structural imbalances and asymmetrical patterns which may exist in such exchanges. In summary, the Protocol has three key components. The first relates to articles in the Protocol that concern issues of exchanges, training and collaborations. As Table 1 below illustrates these include Articles 2, 4, 7, 8, and 9. The areas captured here range from cultural exchanges and dialogue to technical assistance and collaboration in performing arts, publications and the protection of sites and historic monuments.
TABLE 1:
Key Aspects of the Protocol on Cultural Cooperation EXCHANGES, TRAINING AND COLLABORATIONS
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Art. 2 Cultural exchanges and dialogue Art. 4 Technical assistance Art. 7 Performing arts Art. 8 Publications Art. 9 Protection of sites and historic monuments
TEMPORARY MOVEMENT
Art. 3 Artists and other cultural professionals and practitioners
AUDIO-VISUAL SERVICES
Art. 5 Audio-visual, including cinematographic, cooperation Art. 6 Temporary importation of material and equipment for the purpose of shooting cinematographic films and television programmes
The second key element of the Protocol involves the temporary movement and entry of artists and other cultural professionals and practitioners.
It relates to the movement of two groups: (a) those involved in the shooting of cinematographic films or television programmes, and (b) a broader list of entertainment services providers involved in cultural activities such as, for example, the recording of music or contributing an active part to cultural events such as literary fairs, festivals, carnivals and other activities. An important addition is the mention of ‘Mas performers and designers’ as a category of service providers (see Box 2).
BOX 2:
Artists and other Cultural Professionals and Practitioners (a)
Theatrical producers, singer groups, band and orchestra members;
(b)
Authors, poets, composers, sculptors, entertainers and other individual artists;
(c)
Artists and other cultural professionals and practitioners participating in the direct supply of circus, amusement park and similar attraction services, as well as in festivals and carnivals;
(d)
Artists and other cultural professionals and practitioners participating in the direct supply of ballroom, discotheque services and dance instructors;
(e)
Mas performers and designers.
There are two important restrictions that apply to temporary movement under the Protocol. The first is that under Article 3.1 of the Cultural Protocol; these entertainers are facilitated temporary entry “provided that they are not engaged in selling their services to the general public or in supplying their services themselves” while staying in the other Party. The rationale is that the Protocol would address the temporary movement of those who cannot avail themselves of the market access commitments undertaken by Title II “Investment, Trade in Services and E-Commerce”. The second restriction is that entry, when allowed, shall be for a period of up to 90 days in any twelve-month period. In effect, these elements of the Protocol target the movement of not-for-profit cultural operators as well as those pursuing contracts and involved in marketing.
STRATEGIC DIRECTIONS UNDER THE EPA In relation to the strategic imperatives of the CARIFORUM-EU Economic Partnership Agreement, the following outlines the key challenges and opportunities for service exporters should exploit. This section also identifies the key demand and supply side issues, along with the implementation issues for the Mas sector.
CHALLENGES
Trends within the environment with potential negative impacts
DEMAND-SIDE ISSUES
(i.e. market access, consumers, target markets, regulatory regimes) CRITICAL SUCCESS FACTORS
TACTICS AND ACTIONS,
1. MARKETING INTELLIGENCE
1. Need to target specific locations and cities in the EU to conduct market research in order to understand market demands and logistical requirements.
2. TARGET DIASPORIC FIRMS
2. Identify potential strategic collaborator and companies in the EU that can partner with local Mas firms.
3. ‘PACKAGING’ AND REBRANDING.
3. Develop sophisticated marketing strategy for packaging and in some instances rebranding the Mas product.
1.
EPA still does not address Visa Requirements - It is quite difficult to access some EU markets (e.g. Schengen region).
2.
Limitation of access (up to fulfilment of contract/day specification) may limit ability to engage in other promotional activities.
SUPPLY-SIDE ISSUES
Entrance of support service staff under EPA may be limited to what is ‘deemed necessary’ to fulfill contract – as determined by local laws.
CRITICAL SUCCESS FACTORS
TACTICS AND ACTIONS,
1. QUALITY ASSURANCE
1. Establish quality standards for designers, producers and other practitioners.
2. A FULFILLMENT CENTRE
2. Need to develop capacity to meet national & international standards to become more competitive.
3. A HELP DESK IN EUROPE
3. Cultural attaches in EU Market, not just a help desk – to create and find market opportunities for exporters.
3.
4.
5.
6.
Lack of entrepreneurs able to invest in, and take advantage of opportunities provided via the EPA. Lack of networks with sufficient and complete ‘back room’ services to market and manage export of services to the EU market. Lack of financial resources to operate and enter EU on account of rising airfares or reduced airlift.
OPPORTUNITIES
Environmental trends with potential positive outcomes and returns 1.
2.
3.
4.
(i.e. firm competitiveness, product quality, technological capabilities, human resources)
Local Mas firms, once registered as Contractual Service Suppliers, can now enter into Event Management and Festival Coordination Joint Ventures with EU companies. There is expanding demand for Mas costumes and design services in continental and Caribbean EU markets. There are now opportunities for greater collaboration with cultural practitioners from the EU to present new innovative commercial packages. Mas performers and designers are now defined as a tradeable services on account of inclusion in the EPA Cultural Protocol.
4. Establish a fulfillment centre outside of the country from which to ship goods
IMPLEMENTATION ISSUES
(i.e. legal framework, harmonization of trade and industrial policies) CRITICAL SUCCESS FACTORS
TACTICS AND ACTIONS,
1. NETWORKING AND ADVOCACY
1. Develop a focal agency/ office for monitoring the performance of the key market access and Cultural Protocol provisions of the EPA.
2. CERTIFICATION
2. Need to develop laws & regulations, particularly for the registration & certification of cultural practitioners
3. CONTRACTUAL SERVICE SUPPLIERS
3. Facilitate the establishment of firms or Contractual Service Suppliers. 4. Governments need to employ draftspersons to develop relevant laws.
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Article by Gerald Ragbir
Body Paint
FROM ANCIENT TIMES TO THE MODERN DAY, BODY PAINTING HAS EXISTED IN AFRICAN, NATIVE AMERICAN, CARIBBEAN AND OTHER TRIBES. IN TRINIDAD, BODY PAINTING IS POPULAR DURING CARNIVAL, BUT DURING SHOWS AND EXHIBITIONS IT HAS BEEN USED AS WELL FROM TIME TO TIME. MODELS GET PAINTED TO PROMOTE PRODUCTS, AND IT WORKS, BECAUSE THEY ATTRACT A LOT OF ATTENTION. WHILE PAINT STYLES CAN VARY, A TYPICAL PAINT DESIGN FOR CARNIVAL CAN COST UPWARDS OF $1,000.
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J'ouvert or Jouvay is the heart and soul of Trinidad and Tobago Carnival. There is something about this celebration that is pagan, primal and exciting. Trinidad J’ouvert is full of symbols of culture and heritage. It is steeped in tradition, and playing mud Mas involves participants known as Jab Jabs covering themselves—and others—from head to toe in paint, chocolate, mud, white powder or just about anything that sticks. It is J’ouvert custom that no one remains clean, and a common sight is a formerly pristine observer being hugged by a muddy reveller. This festivity started up with revellers playing J’ouvert with oil and mud; however, with the introduction of body paints in Carnival, revellers can now express themselves more freely and be more creative. Characters such as Jab Jab, blue devils, midnight robbers and Indians can easily be represented.
During the celebration of J’ouvert in Trinidad, body paint has become a major part of the experience, adding to the traditional mud, tar and oils. The tell-tale signs of an awesome J’ouvert are paint stained streets and walls. The infusion of body paints adds a unique dimension to the Carnival, so much so that J’ouvert parties outside of the Carnival season, such as J’ourvert in July and Point Fortin Borough day, have become popular, taking place in areas like Santa Cruz and Chaguaramas! The paint used for skin is not normal paint, and it only lasts for several hours to several days (if you don’t wash!) Body paint can come in any colour, and fluorescent colours are available as well. They are odourless, and mercury and lead free. At Berger Paints, we make an extra effort to ensure all of our products are environmentally friendly, easy to wash off, and water based. These are important characteristics for any substances that will go directly on to your skin.
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Body paints are also exported; for example, Suriname uses it for Pagwah celebrations and Guyana for Carnival. Body paint makes the perfect, fun material for kids’ parties and special events like Hardcore, which took place late 2012. These paints are cost-effective, great attractions and brighten up all events as they come in a myriad of colors to complement any moods, themes or brands. Berger Paints Trinidad Limited has been operating in Trinidad and Tobago for over fifty years and continues to be industry leaders in paint, and technological advances. We were the first paint company to be ISO 14001 certified. This is the internationally recognized standard for Environmental Management Systems (EMS). This standard provides guidance on how to manage the environmental aspects of a company’s activities, products and services in a more effective way, taking into consideration environmental protection, pollution prevention and socioeconomic needs. Berger Paints Trinidad offers excellent quality and value in its body paint range, which is available at its head office in Port of Spain or can be ordered at an Berger colour shops across Trinidad and Tobago. We believe in quality-driven products that, at their core, make people happy. Our body paints are available in any quantity and for all occasions.
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THE NEXT MAS QUARTERLY September to December 2013
TRIBE DRAGON
AIMING FOR HIGHER HIGHTS
MUSIC + MAS THE EVOLUTION
Interested in submitting articles or advertising in Mas Quarterly? Contact Mas Transformation Secretariat: Office: 59 Churchill Roosevelt Highway, St. Augustine,Trinidad and Tobago W.I. Mailing: P.O. Box 5139, Woodbrook, Port of Spain, Trinidad and Tobago W.I. P: 868.223.4687 / 233.7163 M: 868.356.0024 F: 868.223.8611 E: jp.pouchet@gmail.com