We sit with
Managing Director
Colin Greaves
Is Worbla the Next Big Thing in Mas? Zebapique: Curing Through Carnival Socadrome: Success or Not?
Visit us online
M A S Q U A R T E R LY - I S S U E 5
T R A N S F O R M I N G Editorial Team Mahindra Satram-Maharaj Jean-Paul Pouchet Gisele Williams Kennedy Pemberton Shiva Charles Deanna Dass Publisher Eidetic Publishing Editing & Design Eidetic Creative Writers Sheldon Waithe Carol Quash Mushtaq Sookoor Basil Lai Roslyn Carrington Jean-Paul Pouchet Marketing Consultant Jean-Paul Pouchet Photography Arthur Sukhbir Basil Lai
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.
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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.
M A S
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B U S I N E S S
M A S Q U A R T E R LY - I S S U E 5
09 Chairman’s Message 10 Is Worbla the Next Big Thing in Mas? 14 Island People Celebrate 10/25 20 Regional Mas: Arima and Rio Claro 24 Zebapique: Curing through Carnival 26 Real Vibes with TriniStars 32 Labor Market Analysis of Mas 36 Why Powder Can’t Put Out Fires 38 Socadrome: Success or Not? 40 Do Carbohydrates Make You Fat?
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Inside
M A S Q U A R T E R LY - I S S U E 5
Chairman’s Message Mahindra Satram-Maharaj Chairman/CEO Mas Transformation Secretariat
Welcome back, ladies and gentlemen.
creative way to confront the social ills that tempt children to feel
Mas Quarterly Magazine is proud to publish Issue 5 just in time for
Andrew and Anthony Alleng, who leveraged 40+ years experience
Band Launch Season. For those of you still reminiscing about Carnival
and developed their own curative source of positivity for young,
2014, take comfort in knowing that preparations for Carnival 2015
impressionable minds, known as the Zebapique Children's
are well underway, as Harts Mas Band tolled the opening bell for
Carnival Band.
forgotten. Mas Quarterly hails the efforts of seasoned Mas Makers
Band Launch Season presenting their costumes on June 30th. According to this Issue, no matter the fun and games, truth If you are new to Mas Quarterly, then take a few moments to join
dictates that Mas is Business, and in business, human resources
us for a critical look behind the scenes of Trinidad & Tobago's
are a critical part of achieving organisational goals. Thus, feel free
Masquerade Industry. If you are a repeat visitor, then continue to
to consult page 32 for the findings of a Masquerade Sector Labour
observe the creative genius of our Mas Practitioners and their
Market Study undertaken by the Mas Transformation Secretariat.
strides towards professionalising Trinidad & Tobago Mas for Export. Either way, we invite you to sit back and enjoy Mas
Undoubtedly, the rivalry between Traditional and Modern Mas
Quarterly Magazine Issue 5.
continues. However, the one thing that remains in our psyche is that Mas is an encrypted expression of freedom that is dear to the
We are extremely pleased to debut our very special feature
hearts of many. Join Arthur Stephen on page 36 as he reminisces
dubbed ‘Innovation in Mas’, and the thermoplastic known as
on his days portraying a 'Fancy Sailor' in the Traditional 'Sailor
‘Worbla’ is the first such innovation we have chosen to highlight.
Mas' category. Though over eighty years old, Arthur's knowledge
Similarly, we continue to spread the word that Mas takes place in
and respect for the art-form still commands admiration, and he is
52 regions throughout Trinidad & Tobago annually, and on this
living proof that while you can 'take a man out of Mas', you can
occasion we offer a sample of what the Arima and Rio Claro
never 'take Mas out of the man'!
regions have to offer. Finally, join Joel Julian on page 38 for a critical analysis of the In this Issue, Colin Greaves, newly appointed General Manager of
initiative that came to be known as 'SOCADROME 2014'. Was it a
Island People Mas, gives a 'Tell All' interview explaining his modus
success or failure? Did it achieve its objectives? Will it be tried
operandi from the perspective of a Large Mas Band with an
again? These are all good questions posed to various
established Mega Brand. While some dare to call him a baby, this
stakeholders involved in SOCADROME 2014, and Mas Quarterly
YOUNG Man is rooted in our 'Culture of Mas', and is sufficiently
makes no apologies for addressing this matter even if others are
experienced to wield the responsibilities of his new role with
afraid to discuss it.
style and grace. According to Colin, Mas is a business and the 'Island People' philosophy hinges on the principle of inclusiveness.
As always, we extend deepest gratitude to our Corporate Partners, including, but not limited to, Pan American Life Insurance Ltd -
It is often said that children are the future of a nation, but what
Our 2014 Corporate Champion, Republic Bank Ltd, Massy Motors,
would our future be like if our children grew up lacking purpose?
Tourism Development Company (TDC), Trinre, West Shore Medical
Page 24 shines the light on this dilemma, while highlighting a
and CreativeTT. Enjoy!
M A S Q U A R T E R LY - I S S U E 5
I S W O T
R XT B BLA
HE NE
IG THI
IN MAS
?
Innovation in Mas is a series where we at Mas Quarterly Magazine seek to highlight cutting edge ideas, technology and materials.
NG
By Je an-Pa ul Po uchet
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M A S Q U A R T E R LY - I S S U E 5
Enter "Worbla Finest Art" or "Worbla", as it is more
method is using a heatgun). It only takes a couple of minutes
commonly known. This new wonder material has the ability
with this wonder material for the endless possibilities to
to be cut, shaped, moulded, sanded, engraved, painted and,
become apparent. Worbla is made by a German company
most interestingly, reused. It can be used as a stand alone
named Rhenoflex, who actually manufacture the material for
or in tandem with other materials. You may ask, Where did
use in industrial shoe making. “Worbla’s Finest Arts” is the
it come from and why haven't you hard about it before?
Rhenoflex RX 5050 sheet part of the RX 5000 series. The
Well, chances are if you are into to Cosplay (the practice of
sheets come in 1.00–1.15mm thicknesses and can be
dressing up as a character from a film, book, or video game,
ordered in various sizes.
especially one from the Japanese genres of Manga or Anime) you know about Worbla, or at least have seen it.
One of the best things about Worbla is that it’s eco-friendly. Its natural fibers and unique properties not only make it
But what is Worbla? The answer in one word is it is a
recyclable, but also make it reusable. When you are done
thermoplastic. Its an adhesive plastic made from renewable
cutting out your shapes, all the little scraps can be reheated
natural raw materials that responds to heat by becoming
and combined to be re used. This means there is virtually no
pliable and sticky, yet rigid when cool. To heat it, you can use
wastage. For those of us that do costume production and are
steam, hot water, or hot air (though the recommended
left with hundreds, if not thousands of little pieces of
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M A S Q U A R T E R LY - I S S U E 5
material when all is done, this fact alone is mind-boggling.
individuals. When used along with traditional Mas materials,
This year will mark the official introduction of Worbla to
the combinations can lead to amazing, unique pieces that can
Trinidad and Tobago's Carnival. The National Carnival
truly be considered works of art.
Development Foundation, through The Mas Transformation Secretariat, is teaming up with Alias Entertainment to host a
This new material gives Mas practitioners a new medium, one
Worbla Workshop exclusively for local Mas Practitioners on
where the prohibitive price of copper, the time-intensive
the 24th July 2014. Alias Entertainment is a local company
practice of plastic moulding, the weight of papier-mâché and
specialising in Cosplay. The similarities of needs for both
fragility of Styrofoam may be overcome. We may yet see a
sectors means that this partnership was only logical. Though
return en masse to artisanship as the possible variations of
the subject matter may be very different at times, there is a
our collective creativity can be channelled through this new
common use or even need for Worbla. For this unique
wonder material. Don’t get me wrong; Worbla won’t replace
training workshop, the International Demonstrator Eve
everything, but what it will do is allow an expansion of what
Beauregard will be present as the lead facilitator and expert.
is possible. The use of the skills required may rekindle some
Eve is an Australian Cosplay Model, Actor and Blogger. This
of the lost and dying art forms of yesteryear's Carnival, all
material allows the designer truly unlimited range in terms of
the while pushing individual and collective creativity
design. Shapes can be made and easily custom fitted to
to new heights.
For Information on how you may attend Worbla Finest Art Workshop at no cost, contact the Mas Transformation Secretariat at
Josette James is the sole Worbla Finest Art Agent in Trinidad and Tobago and may be reached at (868) 303 7318 or Email at: josette@alias-expo.com
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(868) 223 8611, (868) 223 4687 or (868) 223 7163 or Email at: ncdftt@gmail.com
M A S Q U A R T E R LY - I S S U E 5
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Ten years as a band. Twenty-five as a brand.
“Unfortunately, I’m the ‘everybody’ guy,” jokes Colin Greaves, General Manager of Island People. “I’m the one that needs to know everything. I’m the one that everybody comes to.” He seems to be doing an excellent job. Young, suave, sophisticated yet approachable, he appears to embody the spirit of Island People, a Mas band that has become one of the most popular party bands in T&T.
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By Rosyln Carrington
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M A S Q U A R T E R LY - I S S U E 5
Island People are party people
of the brand is their relationships, both with the
“Amnesia is the premium all-inclusive fête of the season,”
masqueraders and fêters, and the artistes. “We have
explains Greaves. “It’s usually Machel Montano’s first
fantastic, long-lasting relationhips with people like Machel
performance of the season.”
Montano HD, Destra Garcia, Roy Cape All Stars, the leading artistes of the season.”
Girl Power is held on Carnival Friday. It caters to a general audience...largely female, of course, as well as people who
They frequently survey their customers to make sure their
have just landed in the country for the festival and are eager
needs are met. All customer service representatives have
to kick-start their weekend. “People who aren’t up to the
been trained to be extremely friendly and open; players have
kind of energy you get at Soca Monarch go to Girl Power. Of
their phone numbers and know them all by name.
course, some of the premier artistes perform there after their Soca Monarch performances.”
Mas is a business Island People operates like any other successful corporation,
Insomnia is the breakfast party, characterised by what
with a management structure, strategic plan, a
Greaves calls “crazy energy.” It’s huge: around 10,000 people
communications and marketing team, and financial due
clog the Western Peninsula getting to and from the fête,
diligence. “We do environmental analyses, we do our SWOT,
which kicks off after midnight and doesn’t wind down until
we advertise. It’s about staying current and trendy. You keep
about 10:00 or midday the next morning. “Machel comes on
your ears on the ground.” Trends come and go, he explains.
when the sun comes up. When it starts to get hot around
Live bands versus recorded music, cooler parties versus full
eight, we have water trucks going around wetting people.”
bars. Ticket costs go up...and go down. The trick is to know
There is also another event, called Dawn, that runs
what people want...even before they do.
simultaneously with Insomnia, closer to the city for people who prefer not to make the trek out West.
Thinking ahead A prime example of their innovative style is the decision they
Good relationships are key
took this year to package their band launch as a two-hour
Greaves thinks that one of the major elements in the success
stage performance at NAPA. The idea was Greaves’, who grew
We do environmental analyses, It’s about staying current You keep your ears
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M A S Q U A R T E R LY - I S S U E 5
up in Mas as the child of the bandleaders of Showcase and
A philosophy of non-exclusion
Associates, and who went on to do a degree at UWI in
When it comes to registration, the band professes a
Carnival Studies and Communications.
philosophy of non-exclusion: you don’t need to “know someone” to get in. There is no screening process. The wide
He admits that at first, he was met with doubts and
open arms they extend to people regardless of race, colour,
misgivings from his fellow team members. A band launch?
gender or size has its roots in a painful experience
At NAPA? Who ever heard of such a thing?
encountered by founder Derek Lewis back in the 1980s. Taking up a football scholarship to the US, he remembers
“I thought, let’s do a T&T version of the Victoria’s Secret show.
being one of two Caribbean players on the football team.
People looked at me like I was crazy, but the band leader,
Running out onto the field, he was pelted with peanuts and
Dane Lewis, agreed that we can’t do the same thing every
bananas, and the crowd began chanting, “Island people, go
year and expect different results.”
home, island people, go home.”
So, NAPA it was, and the results were spectacular. The
For Lewis, the term “Island People” became a rallying cry, a
audience was kept in the thrall of the high-tech presentation;
rebellious identity, even a popular T-shirt brand that he
laser lights, gorgeous models, live performances, spoken
created. And, as history shows, it has grown into so much more.
word, steel band, Indian dance, rhythm sections, violinists, acrobatics... even the puppet Santana. In short, a show of
“It was out of that spirit of him looking for acceptance that he
Broadway proportions. All taking place under the guidance of
developed the spirit of non-exclusivity.” The band tailors its
creative directors, Marlon Grant and Derek Lewis. The
costumes to cater for players of all sizes, up to 3 or 4XL,
after-party took place at Zen.
Greaves explains. “And because people feel comfortable with us, they feel free to enjoy themselves.”
“It was front page in all the papers.” They boast that this year’s launch will be the same venue. “There’ll be more
Registration is available online on the band’s website or at
surprises, more entertainment, more jaw-dropping and
their Mas Camp in Woodbrook. The Band launch takes place
pore-raising moments.”
on August 15th at NAPA.
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we do our SWOT, and trendy. on the ground.
M A S Q U A R T E R LY - I S S U E 5
Region ARIMA By Carol Quash
When Candice Allain worked with a team to bring out the
She eventually took a decision to include adults in the fun,
Children of D Forest band for the University of the West
kaleidoscope mix. “The band now participates in both kiddies
Indies (UWI), St Augustine Campus Carnival seven years
and adult parades.” And it was a wise decision. For in 2013
ago, little did she know that she would successfully lead a
the adult band copped the first place in the Small Band
band of the same name through the streets of the Borough
category for J'Ouvert and Monday evening Mas, and third
of Arima three years later.
place in 'Pretty Mas’ on the Tuesday. The children's band placed fourth.
“I initially started in 2007 with a team of persons in the UWI Campus Carnival. That year the concept was Children of D
She usually brings eight sections – three for adults and five
Forest. That concept stuck with the band and became the name.”
for children, and on an average, the band registers around 60 adults and 60 children. “We do contemporary costumes, as
Eventually taking on the roles of creative director and
patrons prefer this type of Mas and it is easier to sell. The
manager, Miss Allain led the band to win many titles. “Two
band participates in Kiddies Carnival, J'Ouvert, Monday
years later, the band was managed by myself and another
evening and 'Pretty Mas’ on Tuesday in Arima.”
individual, and was one of the largest bands on campus, usually 800 to 1,000 students. Every year we captured the
Putting the claim that Carnival is colour to the test, Miss
band of the year title, in the Large Band category.”
Allain says she utilizes as many colours as possible. However, it is not just a Carnival season thing for Children of D Forest,
But she had much bigger plans for the band for which she
as masqueraders get to showcase their true colours at other
had worked hard to help build and promote. “In 2010, the
parades. “In 2012 the band came second in the Borough Day
band took to the streets of Arima for its first ever Kiddies
J'Ouvert, in its first time participating.”
Carnival, with 33 children and the concept, Neverland. I was then the sole leader of the band.”
But while she loves the thrill of bringing a band and seeing her work on display along the parade route of Arima, Miss
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M A S Q U A R T E R LY - I S S U E 5 4
al Mas Allain says there are other things that are just as important
cousins, Gustav and Jael Joseph, will be designing for two of
to her. “Unfortunately, due to my educational
the adult sections.
commitments, the band did not participate in the street parade in Arima this year. “However,” she promises her loyal
As with many other small bands, Miss Allain laments that
masqueraders, “For Arima Borough Day, the band will parade,
funding remains one of her biggest challenges. “Being one of
and the concept is We Who Came First, as this is the year of
the smaller bands and parading in Arima, sponsorship is very
the First People.”
difficult. Companies usually cater to the needs of the Port of Spain bands, so funding for my band usually comes from
As for next year's presentation, unlike many other bands,
myself and family members.”
what the Children of D Forest will portray has not yet been finalized. “Well, Arima Carnival is different from Port of
She says for her, Carnival and Mas is not about profit but
Spain’s. We usually launch in September, after the Borough
more about passion. “As a born and bred Arimian, the passion
Day hype, so we have not confirmed for next year. But
lies in the Mas and making Arima one of the top Boroughs for
currently we are leaning toward a Moulin Rouge type of
Carnival and Borough Day, after Port of Spain.”
concept for adults, and the elements, fire water wind etc., for the kiddies.”
She encourages people who are not minded to go into the capital city for Carnival, to visit Arima. “My dream for Arima is
But the time factor should not prove to be a problem, as Miss
to develop that aspect of the culture and bring back a safe
Allain says because of the small number of masqueraders, it
and fun environment for both the young and young at heart.
only takes about two months for her costumes to be
To have a stage for masqueraders to cross, and to have one of
completed. Although she works alone most of the time, she
the biggest Kings and Queens show in the east, after Port of
says when it comes to crunch time she contracts the services
Spain. Everyone should be talking about Arima Carnival;
of a small team of about six, which comprises her parents,
that is my goal.”
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brother, and cousins. This time around, she says, two of her
M A S Q U A R T E R LY - I S S U E 5
Region Rio CLARO
And miles away, in rural Rio Claro, another band leader is
orange, red and gold costumes as they paraded along the
hard at work preparing for Carnival 2015 at his home-based
15-minute parade route from the Rio Claro junction, to the
Mas camp, albeit on a smaller scale. Cleavin Toussaint leads
recreation ground, and along the main road, to the car park.
the band Campbell Trace Connection, a position he inherited from his father, Kenneth Toussaint.
But Mr Toussaint doesn't limit his masqueraders to Rio Claro. The band also participates in the nearby Tableland and
“This year was the first time I brought a band by myself,”
Mayaro Carnival competitions. “This year we placed second
the younger Toussaint says. “I have been in the business
as a band in Tableland,” he boasts.
for about 18 years helping my dad with the band. He said he is too old to do it now, so I took over.” The fact that he
Mr Toussaint, also the band's designer, says he has a team of
has also tutored in costume-making workshops at the
about five people helping him assemble the costumes. “I
Mayaro Secondary School strengthens his new position as
design everything and it takes us about three months to put
a band leader.
everything together.” The funding comes from his own pockets and fund raisers.
The band's presentation this year was Rising of the Phoenix, which he says comprised of two sections – the fire, and the
“This is the countryside. People don't really like to pay for
bird that rose from the ashes. The 32 masqueraders,
costumes. Even the prize money doesn't cover the cost of
including a king and queen, mesmerized spectators with their
making the costumes. There is no funding from the Regional
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M A S Q U A R T E R LY - I S S U E 5
al Mas Corporation. No discounts from supply stores. Right now we
He says the use of the now popular bikinis and beads is
are planning a bar be que and excursion to raise funds for
definitely out. “We tried that once and it didn't work out.
costumes. “I charge around $150. This covers the cost of the
People want plenty fabric so we give them that.”
costume and transportation to the other competitions.” As far as he is concerned, the only thing that puts a damper Despite this challenge, Mr Toussaint says he will continue to
on Carnival in Rio Claro is the judging aspect. “I wish the Rio
make Carnival an exciting time for his hometown. “Since I was
Claro Carnival Committee would select judges who don't use
small I was in Mas. I love it.”
the same criteria to judge contemporary and traditional Mas. It is not fair to anyone.”
As for next year's Carnival, plans are already underway for a fun time for the children and grownups alike. “Our
He says over the years Rio Claro Carnival and Mas has been
presentation for 2015 is Funtime Then and Now for the adults,
growing. “I see a lot of other people getting into it. It's
and Candy Island for the kids. We will be using a lot of blue,
definitely getting bigger. Before, there used to be two or
silver, green and purple.” The adults' theme will incorporate a
three bands; this year there were eight.”
portrayal of old games with new games. “The costumes will be short, boxed pleated skirts, tall socks, hula hoops, and things
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like that. And, well, Candy Island speaks for itself.”
M A S Q U A R T E R LY - I S S U E 5
T
rinidad and Tobago’s Carnival has long been held up
because Carnival was born behind the bridge on Piccadilly
as the epitome of the cultural melting pot, the mish
Greens, where the camboulay riots started what we now
mash of cultures, of different levels of society,
know as Carnival.” Anthony continues the story “It started out
casting aside the pressures and divisiveness that exist
as a ‘friend thing’ to help some of the youths who are less
throughout the year, for a brief two-day foray onto the
fortunate than us. I’ve been involved in Mas for 47 years and
shared stage of the road. But what if those same values of
saw the need to bring out a band because that is the way you
Carnival camaraderie were used to foster unity and
get people into Carnival.”
opportunity amongst the less fortunate of the nation? Better yet, what if the focus of such an exercise targeted the
The brothers quickly recognised the need to tap into existing
children of troubled areas so that the ethos of harmony,
networks that were already entrenched in the communities
work and joint celebration would be ingrained in the young
that they sought to help. As such, in their second year, a
mind still ripe for positive influence? Welcome to
partnership was formed with the Defence Force, using the
Zebapique, the organisation that is blazing the trail in using
children that attended the latter’s summer camps in
the most progressive aspects of the Carnival band
Laventille. Immediately, goals were set to formalise the
infrastructure, to reach out to children from all spheres of
working relationship, with cornerstones such as reducing
society and provide purpose to their young lives.
crime and violence through culture, respect for self and others, building communities, strong families, and, crucially, a
The unusual name comes from a local bush; the Zebapique
relationship with other communities. With the ‘Making Life
plant is used to cure most ailments, an apt moniker for the
Important’ as well as the ‘Hearts and Minds’ programmes
children’s Carnival band with aspirations far beyond the
coming on board, Zebapique was soon able to expand into
festive plain. Brothers Andrew and Anthony Alleng, both with
more communities, thereby realising one of its chief aims of
vast experience in Mas, set up the band in 2004 with the
communal interaction. The Kiddies’ Carnival band was proving
vision of giving back to young persons in the east Port of
to be the perfect vehicle to deliver these ideals.
Spain area who never had the chance to experience Mas. That dream expanded when exuberant students of the Laventille
The Alleng brothers did not want to simply outfit the band’s
Girls’ R.C. School visited their St. James Mas Camp in 2006.
revellers year upon year, in the hope that a few days of playing
Andrew explains “They started pulling at the feathers, they
Mas with one another would cement brotherhood for their lives
wanted the rhinestones. We realised that, hey, these children,
ahead. No, the process needed to run much deeper, with
they are part of what we call the grandmother of Carnival,
creativity at the heart of the matter. Building the band, making
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Zebapique: CURING THROUGH CARNIVAL
by Sheldon Waithe
M A S Q U A R T E R LY - I S S U E 5
the parents and their children the stakeholders, was key to
Force held a ceremony amongst the beaming smiles of the
maintaining Zebapique’s unification objectives. Under the expert
children in the Mas camp. Major Al Alexander described the
eyes of the Allengs, the families’ interaction grew, along with the
partnership of Zebapique and the Defence Force of the past
Mas Camp, which had to move to Petit Valley to facilitate the
nine years as “truly magical. To see the children come
influx. Over thirty families now sew, bend wires, glue beads and
together and play and enjoy themselves has been a
embellish fabrics into the early hours of the morning. It’s the
wonderful experience.”
same practice across the nation, with a significant difference, as Andrew reiterates “The time spent in the camp you see the
Also quite magical are the costumes that the kids wear on the
camaraderie between the people from different areas,
streets; this year’s production of ‘De Beauty Above and
something that is not present right now in the areas themselves.
Beneath’ comprised magnificent fan fins of the Lion Fish, the
We are doing it on a small scale, but the bottom line is that it is
radiance of the Scarlet Ibis and the glittery dusting of
working. What you see here are people from different areas
Moonlight. Produced with the unique TLC of the Allengs’
working together for the common cause: the children.”
vision and the communities’ labour of love, how could they
Along with crucial backing from national security agencies and
mindedness, as the massive trophies atop the camp’s mantles
the private sector (Magic Mist Ltd), the explosion of support
testify; this band wins titles. In 2014 alone they garnered two
now includes coordinators from the various areas involved,
first places, three seconds and two third places, across the
meaning upwards of sixty people all helping in the rush to
national Kiddies’ Carnival competitions. However, there is no
meet that Mas deadline that all bands experience. Anthony
doubt that the real rewards come from within Zebapique, as
explains that “people don’t understand the creativity that goes
children who would not normally be part of the beauty of Mas,
into a costume, the love and care. Some of the people here are
with parents in tow, grace the streets in revelry drawn from
doing this for the first time, but they will learn it overnight and
the bonds forged in the humble Mas camp. Andrew concludes:
then do it perfectly because we showed them the right way.” It
“We create the opportunity for these kids to look good, feel good about themselves. As we ask the question ‘what do they have now to make them feel good about themselves?’ We do not have all the answers, but if we can help keep even one person from choosing a life of crime to choosing ‘I want to be somebody’, then we would have accomplished something.”
highlights the added benefit of learning the job skills that can be used in a major sector of the local economy.
The recognisance of the herculean efforts was officially provided in February 2014, when the Ministry of National Security, the Acting Commissioner of Police and the Defence
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be anything but splendid? And it’s not just for show or civic
M A S Q U A R T E R LY - I S S U E 5
with Photography by
Carnival 2014 brought together masqueraders from far and wide, all with one main purpose of expressing themselves in ways that only they could. Mas Quarterly is thrilled to share some of these memorable masquerade moments from some carnival's greatest bands.
Bliss
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Bliss
M A S Q U A R T E R LY - I S S U E 5
with
Island People
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Harts
M A S Q U A R T E R LY - I S S U E 5
with
PASSION
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Tribe
M A S Q U A R T E R LY - I S S U E 5
Labour Market Analysis of the Masquerade Industry of Trinidad and Tobago Prepared by Dr. Jo-Anne Tull, assisted by Jarell Alder
The National Carnival Development Foundation recently commissioned a labour market analysis in order to have a better understanding of the labour conditions in the Masquerade sector within the Carnival industry of T&T.
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This is a synopsis of that report.
M A S Q U A R T E R LY - I S S U E 5
THE Masquerade SECTOR is one of the major segments of
festivals emerging from the Caribbean region. Its
the Carnival industry, not only in terms of its creative
phenomenal expansion beyond T&T has occurred through
output, but also in terms of its contribution to the Carnival
the annual export of music, Mas and manpower to diasporic
industry and other industries such as tourism, audio-visual
Carnivals. As an industry, the Trinidad & Tobago Carnival
and beauty retail. It comprises a range of activities, some
comprises aesthetic, identity and copyrightable goods,
creative-based, others commercially-driven, or a
services and other forms of intellectual property.
combination of these. They primarily occur within a number of SMMEs (small-, medium-, and micro-enterprises),
T&T’s Carnival industry is a signiďŹ cant generator of revenue
alongside public and private sector institutions that play
within key sectors, including other cultural industries, tourism
a supporting role.
and hospitality. It draws overwhelming numbers of visitors to
Overview of the structure and key economic trends
million from Mas players and TT$500 million from fĂŞtes, as
T&T Carnival has become one of the most globalised
part of a total Carnival economic contribution of TT$1.3 billion.
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its host country. The Carnival industry yields about TT$93.4
M A S Q U A R T E R LY - I S S U E 5
Current situation in the Masquerade sector
Yet, the Masquerade sector remains inhibited by weak
The Masquerade sector has become one of the flagships of
managerial and institutional support, and follows an ad-hoc,
the Carnival industry. It creates employment; generates
unstructured approach to business. While there is funding for
foreign exchange; triggers spending in the local retail
the competition aspect of Carnival, the Mas sector
economy; and stimulates economic activity.
experiences uneven levels of investment and incentives for growth. Issues of quality control have presented grave
It relies on the delivery of quality services, particularly with
challenges. Some designers, particularly among the young
the emergence and rapid expansion of the contemporary,
and upcoming, recognise the need to be trained specifically
more commercially driven aspects of the sector. Key to
in Mas design, rather than to rely on their sense of design
responding to related demands is having a cadre of labour
aesthetic to make Mas, or to subcontract to an external
that can fill opportunities for export and assure sustainability.
source to produce a ‘Las Vegas showgirl’ type of Masquerade.
The Masquerade sector is characterized by micro enterprises
Even among those who have accessed some degree of training,
and individual creators that generally operate in the absence
and/or have a sense of the importance of following Mas design
of common best practices in design, quality control and
principles, there exists a lack of confidence regarding what
management. The creative workers that make up these SMMEs
they know in the absence of an accepted qualification.
have generally acquired their skills via informal modes of training. Such training platforms do not necessarily keep pace
The transfer of skills and knowledge in Mas arts and Mas
with the demands and changing needs of the sector.
design generally occurs in the context of workshops and
Competent creative workers in Mas are always in demand.
artist apprenticeship/mentorship models of training and practice. While such models of training must be encouraged,
In the past few years, a number of new bands have come on
there is an absence of formal academic training to
stream, increasing the demand for designers.
complement and enhance these models, particularly in the
Notwithstanding the inclination of some major bands to
area of “train-the trainer”. Many apprenticeship models of
purchase costume pieces at cheap wholesale prices from
training tend to focus on completing Mas production in time
China, the majority of the sector’s bands are skills-driven and
for the upcoming Carnival parade, and therefore do not
labour-intensive, relying heavily on local, indigenous
necessarily encompass broader dimensions of training that
materials and experienced craftsmen.
are critical to the holistic development of Mas arts and Mas design as a sustainable profession and career choice.
As the Mas sector grows beyond the local Carnival landscape,
As many skilled artisans and craftsmen age, the ability of the
with expansion in industrial and export capabilities, the
sector to transfer knowledge has become a critical concern.
demand for human resources has also been rapidly
It is in this vein that a formal training platform focused on
expanding. The export of such high-end skills represents a
Masquerade design was developed at the University of the
unique core competence, as they are usually only accessed
West Indies. The Practitioner’s Certificate in Carnival Arts is
from T&T, while basic skilled workers such as decorators and
intended to offer a more targeted intervention into the field of
seamstresses are usually hired within the external market.
Mas arts, and designed to address the growing need for artisans
This external market has thus allowed some in the local Mas
and other creative workers in Mas to have certified training and
sector to make Carnival their full-time occupation.
skills. Complementary to this programme is the Trinidad and
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M A S Q U A R T E R LY - I S S U E 5
Tobago National Training Agency’s recently approved
Mas-sector-related work. Some work in Carnivals outside of
Occupational Standards II and III in Masquerade design.
Trinidad and Tobago, mainly the US, the UK, and in the Caribbean. The main reasons cited by those who have not
The presence of Mas sector businesses in the regional
worked in foreign Carnivals were: no opportunity, and no
Carnival areas suggests a growing inclination towards
access to necessary resources, including labour.
working in the many regional Carnivals outside of the Port of Spain context. Additionally, some find work in other local
Overall, 65% work in the Masquerade sector part-time, while
festivals such as Hosay and Ramleela. This suggests that the
17% worked full time. ‘Love of the Art’ is the major reason for
wider festival landscape offers scope for business and
working in the sector; others view it as a hobby or a source of
employment, thus delimiting the seasonality of
additional income.
Employment Profile The number of employees represented by the Mas sector businesses polled totalled some 152.
134 in Trinidad
18 in Tobago
62 seasonal employees
38 permanent employees
52 volunteers
Hiring and assessment
Only a small number have been affected by salary deductions
For many respondents, references are mandatory in hiring staff.
and wage freezes. Many cited issues such as increasing
Experience is also a pre-requisite. Some identified IT as a basic
material costs, lack of high quality locally sourced materials,
skill required. Main ways potential workers are assessed include
infrastructure, lack of sponsorship/funding and the political
demonstrations of skill, questioning or interviewing applicants
climate as having the greatest impact on their businesses.
are a problem. Many were willing to subcontract labour, mainly
Conclusion
through the OJT and MUST programmes; from within the
Crucial to any strategy for development and transformation is
community; and from the hospitality sector. None sourced
the improvement of the sector’s human capacity. For most, if
graduates from within the tertiary system, although this offers a
not all other industries and sectors, human resource
pool of young graduates already trained in key areas such as
development is a critical success factor for industry
management, accounts and marketing.
sustainability and competitiveness.
The transfer of skills and knowledge in Mas arts and Mas design generally occurs in the context of workshops and artist apprenticeship/mentorship models of training and practice.
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or relying on portfolios or recommendations. Labour shortages
M A S Q U A R T E R LY - I S S U E 5
why Powder Ca n ’ t P ut O ut
Fires
C
arnival over the years has evolved from one thing to
A descendant of the less glamorous “Sailor Mas”, which was a
another, most notably, that of a metamorphosis into somewhat
more visceral depiction of the drunken behaviour of the
of a commercial enterprise for the business minded.
visiting World War II sailors on shore leave; Fancy Sailor Mas has its own creative expression through the wildly colourful
From the masquerader to the band leader, the look and feel
decorations that adorn both the headwear and mask, as well
of Carnival and how one participates in the revelry can be a
as the entire suit. However, the true beauty of a Sailor Mas
convoluted story of fashion statements and playing with the
depiction has to be its unique dance.
“It band”, to generations of bikini- and bead-wearing families in “familiar” bands, playing alongside dads, moms, aunties
Master of the art form and legend in his own right, Arthur
and cousins.
Stephen, explained the intricate details of what it meant to play Sailor Mas.
However, this now accepted frenzy of newly minted mass-produced costuming that swarms mostly the streets of
“I was just about seventeen when I wanted to play with a
the capital city, is both exhilarating to behold, as it is
steel band, back then Sailor Mas was a part of the Steel
somewhat disconnected from the Carnival of those very
bands. After a while I realized that I liked dancing Sailor Mas
streets just a few decades ago.
rather than playing music,” Stephen clearly stated. His memory was crisp although our conversation took us back to
You see, before the shimmering choreographed chaos of
the late 50s. The career Mas man, who was dubbed “Fires” as
today’s Carnival, was a festival of a more intimate nature, one
he was also a career fireman, started off with an admiration of
that embraced the individual creative experience, that when
the Sailor Mas bands presented by original band leaders like
combined into a “band” of like-minded souls, truly presented
Jason Griffith; who took his band from six to eight sailors to a
a glimpse into the essence of what Carnival started out as, a
band of hundreds of masqueraders.
time to participate in the culture of our nation in wear that was sometimes absurd, mostly ad hoc, but always true to the
His progression took him from playing in the steel bands to
creative soul of the reveller.
moving to Sailor Mas and making his way through the ranks. From floor Mas, to Fancy Sailor, to then being offered the
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Today this is only really seen in large numbers during
coveted position of a King, due to his dances and moves,
J’Ouvert. Unless, of course, you are aware of one of the iconic
a trail displayed by the more seasoned and mature
masqueraders of traditional Mas, the Fancy Sailor.
Fancy Sailors.
M A S Q U A R T E R LY - I S S U E 5 4
Today he is retired from the art form as a bandleader, though still willing as ever to share his knowledge and colourful stories of Carnivals past. Throughout our hour-long conversation, “Fires” spoke in detail of the ceremony, history and devotion that defined a Fancy Sailor, qualities that even in his eighties, he treated with his position as a traditional Fancy Sailor Masman as a true officer of the discipline.
We traversed the timeline from brown cotton “Flourbag” Costumes, to the use of red rope in the depiction of the dreadlocked “Redhead Sailor” Mas, to the evolution of the fancy sailor and their unique dances; a feature of the character that still lives to this day.
Displaying his accolades, hand made costume pieces and even appearances on corporate calendars depicting traditional Carnival Characters, Fires truly has risen to the top of the ranks as a Master Sailor. From his trademark “Swizzle stick” and skill at various subtle dance moves, essential to the artform, to the countless stories and hidden truths behind such oddities as the use of powder being either a representation of the sea foam a sailor was associated with, or for its more covert use as a fragrance for use when visiting women, Fires truly brought the experiences of an exuberant
journey, to the wisdom and contentment that shines in the eyes and smile of this now 81-year-old master. A testament that his “Fires” for Mas are still burning strong.
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seventeen-year-old just starting out on his personal Carnival
M A S Q U A R T E R LY - I S S U E 5
SOCADROME: Success or Not? That is the question. Written by Joel Julien
D
The answer, however, is not as clear cut. epending on who you talk to, the Socadrome is either
congestion around the Savannah”. He hopes the
an essential element for Trinidad and Tobago’s Mas
Socadrome would return next year.
experience or an unnecessary addition to the Carnival
calendar. The Socadrome, which was a loose interpretation of
Acting Police Commissioner Stephen Williams agreed that
Brazil's Sambadrome, was the brainchild of band leaders of
the Socadrome was influential in correcting what has been
Bliss, Harts, Tribe, Yuma and Passion, who proposed that their
a bugbear for the Police Service during Carnival.
masqueraders utilise the main court of the Jean Pierre Complex
Williams said getting bands to the Savannah has been a
to avoid the congestion at the Queen’s Park Savannah.
significant challenge faced by the police since the return of the Big Stage in 2011.
When asked the question, Dean Ackin, leader of popular Mas band Tribe, confidently said the Socadrome was an
The Socadrome “aided is easing up the congestion and
“overwhelming success”. The Socadrome initiative was
allowing the traffic to flow,” Williams said.
proposed for the purpose of de-congesting one of
However, while Ackin and Williams have lauded the
Carnival’s major judging points for bands. And Ackin
success of the Socadrome, the initiative has been met with
believes the Socadrome was successful to this end. “The
some negative reviews. One of the issues that the
Socadrome was an overwhelming success, we have gotten
Socadrome was faced with in its inaugural year was several
good feedback and our masqueraders were very happy,”
logistical hiccups which saw two of the five bands
Ackin said.
expected to participate in the initiative being left out. The bands were scheduled to start crossing the stage at the
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Ackin said the Socadrome was successful on two counts:
Jean Pierre Complex from 8 a.m. However it was only at
“One, the masqueraders had less waiting time than they
9.50 a.m. the first band, Yuma, crossed the stage.
had when crossing the Savannah stage, and two, it eased
Mas bands Harts and Passion were unable to cross the
M A S Q U A R T E R LY - I S S U E 5
specially built stage at the Jean Pierre Complex because of
Some stakeholders, however, gave the Socadrome a
issues surrounding time. Harts and Passion eventually had
failing grade.
to settle for crossing the stage at the Queen’s Park Savannah instead.
One of those is actually closely involved in the original conception of the Socadrome, a veteran member of
Harts was the first band to cross the Savannah stage on
another Carnival association.
Carnival Tuesday. Only Yuma, Tribe and Bliss crossed the Socadrome stage. Crowds at the facility were small as
“[This individual] came up with a good idea to explore an
expected for the pilot project. Onlookers at the Socadrome
alternative route for non-competing bands,” Ackin said.
waited from 1.30 p.m. to almost 4 p.m. for another big band
“We found it to be a good idea, so this year, when the
to cross, but the place was deserted.
proposal to reverse the route was rejected, and the congestion problem remained stuck at square one, a
Revelers who crossed the Socadrome stage also expressed
couple of the large bands decided to explore the use of the
differing views about their experience. Reigning Miss
Hasely Crawford Stadium and Jean Pierre Complex as a
Trinidad and Tobago Catherine Miller said it was her first
venue,” Ackin said.
time crossing a Carnival stage. Miller, a Tribe masquerader, wore the national costume she placed second in that
The Carnival association official said the NCBA was never in
category at the Miss Universe pageant in Russia last year.
support of a separate venue for Mas, but rather an
She said she was happy with the experience.
extension of the current parade route and a reversal of the direction of the route to help ease the congestion. These
Soca star Fay Ann Lyons, who also played in Tribe, however,
requests were rejected. An alternative proposal was to
said she preferred the Savannah stage to the Socadrome.
have bands move clockwise into the Savannah as a means
Lyons lamented there were not enough spectators
of addressing the perennial problem of congestion. This
at the Socadrome.
plan was shelved after Acting Prime Minister Prakash Ramadhar intervened in the issue.
Minister of Community Development Winston "Gypsy" Peters said that he, too, preferred the Savannah stage, but
However, although the proposal for an extended route was
would leave the ball in the masqueraders’ court to decide
rejected, the Socadrome was approved.
their preference.
Minister of Arts and Multiculturalism Lincoln Douglas said
further separate the classes in Trinidad and Tobago. But no
he will await feedback from the bands that participated in
matter what end of the Socadrome debate, they found
the venture to determine whether the Socadrome was a
themselves all agreed that Trinidad and Tobago Carnival
success or not.
remains the “greatest show on earth”.
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Some patrons believe the Socadrome has become a way to
Incorporated under the Companies Act of 1995 in 2003, the National Carnival Development Foundation (NCDF) is an NGO that represents over 500 Mas practitioners, among them carnival bands, designers, wire benders, kings, queens, characters and artisans and eleven large Port of Spain Bands. It falls under the purview of the National Carnival Commission, and its functions include 1. Developing an awareness and acceptance of the responsibilities of citizenship through Mas and Carnival. 2. Representing and promoting the cultural, economic, social and legal interests of its members in Carnival locally and overseas. 3. Collecting and appointing agents to recover and collect all royalties, fees and other monies due to Members, by reason of the enforcement of their rights and to distribute such royalties and fees and other monies in accordance with agreed principles. 4. Provide a unified voice for all its members in negotiations concerning Mas and or Carnival. 5. Advocating for the establishment of an enabling environment for the sector.
Contact Mas Transformation Secretariat: OďŹƒce: 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.
Interested in submitting articles or advertising in Mas Quarterly?
P: 868.223.4687 / 223.7163 M: 868.356.0024 F: 868.223.8611 E: jp.pouchet@gmail.com
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