Some say Trinidad Carnival 2K9 was lacklustre. Some say the Carnival ran like a well-oiled machine. This Carnival reminded me of the old saying “the more things change, the more they stay the same.” The same can be said for the BTA and NCF promotion of Crop Over during the 5 day’s of the celebrations here.
Here are some notes:
Here are some notes:
Like her father in his heyday, Fay-Ann Lyons ruled the airwaves, the parties and the Road with her tribute to father with ‘Meet Super-blue’. The song was a crafty throwback to the days of the eloquent Midnight Robber. It was a challenge and a boast that she was her own woman but it was also a worthy tribute to her father who won 8 Road march titles and ruled the Soca stage throughout the ‘80s and 90’s. For good measure, Fay-Ann also took home the Power Soca and the Groovy Soca titles!
This Carnival also saw the mainstream acceptance of local East Indian music called “Chutney”. Songs like Hunter’s ‘Jep Sting Naina’, Kenneth Salick’s ‘Radica’ and Patch’s ‘Rum & Roti’ were given equal airplay in Soca land. This crossover speaks volumes to where Trinidad has reached in its race relations and the change from Soca influenced Chutney…not its Chutney that has the influence on Soca. As the saying goes ‘Life imitates Art’.
One of the original ‘Wood-brook bands’ Silver Stars took the Panorama championship with a TT$ ONE million prize. Originally a medium sized band, this was Silver Stars’ third year representing in the large band category. An historic triumph indeed! I heard many Phase II Pan Groove supporters give way to Silver Stars and graciously tip their hats to one of the pioneers of the steel-band fraternity. Their rendition of bandleader Edwin Pouchet’s ‘First in de Line’ was melodious and well-executed. This was in no small way due to their youthful and skilful frontline.
Through the medium of pan and the pan yard one meets amazing people, this is where you get to see the preparation and discipline of the pan man.
I always believed the Government sponsoring of calypso tents at Carnival or Crop over is a dangerous thing. And is partly responsible for the laziness of management of these tents finding private investors and of course the decline of social commentary with meaningful criticisms of the very governments by calypsonians.
Its traditional calypso dieing …is the big question…. The problem lies with change, traditional is a branding, calypso changed its branding to Soca, now we hear of Groovy and Power Soca, Chutney to Chutney Soca, until the criteria setters change their notes to include emerging variations like they did in the year of David Rudder’s success, lame songs fitting the conventional template will continue to win Dimanche Gras. Granted a lot of truly spectacular unforgettable traditional calypso were witnessed in the 8 years interim. The reality is that Soca (groovy and power) has overtaken the role of calypso rooted in fundamental mid 20th century style.
On the same topic of Groovy and Power Soca … Within Fantastic Friday, comes the most defining product and “asset” to the Carnival.
The Power Soca & Groovy Monarch competition presented by Caribbean Prestige Foundation is also a star making and visual phenomenon which can bring on heart-racing. This event with a $1M dollar purse for one nights work is a pay back to these creative performers, what I love most of all about the promoters of this event losing contestants walk away with no less than $ONE hundred thousand. This is the Greatest Show inside and outside of Carnival.
I must admit I love the mass, and can clearly see that until its returned to the Big Stage carnival for the masqueraders will be an anticlimax.
This Carnival also saw the mainstream acceptance of local East Indian music called “Chutney”. Songs like Hunter’s ‘Jep Sting Naina’, Kenneth Salick’s ‘Radica’ and Patch’s ‘Rum & Roti’ were given equal airplay in Soca land. This crossover speaks volumes to where Trinidad has reached in its race relations and the change from Soca influenced Chutney…not its Chutney that has the influence on Soca. As the saying goes ‘Life imitates Art’.
One of the original ‘Wood-brook bands’ Silver Stars took the Panorama championship with a TT$ ONE million prize. Originally a medium sized band, this was Silver Stars’ third year representing in the large band category. An historic triumph indeed! I heard many Phase II Pan Groove supporters give way to Silver Stars and graciously tip their hats to one of the pioneers of the steel-band fraternity. Their rendition of bandleader Edwin Pouchet’s ‘First in de Line’ was melodious and well-executed. This was in no small way due to their youthful and skilful frontline.
Through the medium of pan and the pan yard one meets amazing people, this is where you get to see the preparation and discipline of the pan man.
I always believed the Government sponsoring of calypso tents at Carnival or Crop over is a dangerous thing. And is partly responsible for the laziness of management of these tents finding private investors and of course the decline of social commentary with meaningful criticisms of the very governments by calypsonians.
Its traditional calypso dieing …is the big question…. The problem lies with change, traditional is a branding, calypso changed its branding to Soca, now we hear of Groovy and Power Soca, Chutney to Chutney Soca, until the criteria setters change their notes to include emerging variations like they did in the year of David Rudder’s success, lame songs fitting the conventional template will continue to win Dimanche Gras. Granted a lot of truly spectacular unforgettable traditional calypso were witnessed in the 8 years interim. The reality is that Soca (groovy and power) has overtaken the role of calypso rooted in fundamental mid 20th century style.
On the same topic of Groovy and Power Soca … Within Fantastic Friday, comes the most defining product and “asset” to the Carnival.
The Power Soca & Groovy Monarch competition presented by Caribbean Prestige Foundation is also a star making and visual phenomenon which can bring on heart-racing. This event with a $1M dollar purse for one nights work is a pay back to these creative performers, what I love most of all about the promoters of this event losing contestants walk away with no less than $ONE hundred thousand. This is the Greatest Show inside and outside of Carnival.
I must admit I love the mass, and can clearly see that until its returned to the Big Stage carnival for the masqueraders will be an anticlimax.
Mike Murray
Keep the Faith.
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