THE EDITOR: Last week, as I watched the familiar Carnival vending booths being erected in the Queen’s Park Savannah, I was struck by their unchanged, time-worn presence. Year after year these structures return, silent relics of a festival that prides itself on creativity and innovation. Yet their stagnation reflects a deeper issue within our Carnival: a reluctance to evolve.
Tradition is the foundation of our culture, vital in preserving the rich heritage of TT. But as much as we honour the past, cultural evolution is just as critical. Without innovation, we risk losing the essence of what makes our country great and our Carnival the greatest show on earth.
This lack of evolution is visible far beyond the vending booths. The calypso tents, once electric with lyrical mastery and social commentary, now struggle for relevance. The excitement of mas camps has waned, and the thrill of watching artisans craft costumes has faded.
I remember the first time I played mas my mother took me to the designer’s home to be measured for my costume. There was something intimate, something sacred about that experience. I wasn’t just a consumer; I was part of the process, witnessing the transformation of fabric, feathers, and wire into something magical.
When I finally wore my costume, I carried with me a deep sense of pride, knowing the hands that had shaped it.
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Today that experience is nearly extinct. Mass production has replaced artistry, and what was once a deeply personal, creative process has been reduced to commerce. Revellers now receive factory-produced costumes in intricate packaging, disconnected from the craftsmanship that once defined playing mas.
If the stagnant plywood vending booths symbolise our resistance to change, perhaps they can also be the starting point for transformation. Sustainability and innovation should be embedded in the fabric of our festival, beginning with how and with what materials we design our Carnival spaces and these booths.
For over 40 years, the same plywood structures have been reused – a practical but uninspired solution. Imagine, instead, a vibrant, eco-friendly vendor village made from bamboo, reclaimed wood, and upcycled materials. Thousands of discarded Carnival costumes could be repurposed into decorative panels or shade canopies.
These booths could become showcases of local craftsmanship, employing artisans who work with sustainable materials to create structures that reflect the creativity of Carnival itself.
Sustainable innovation does not mean discarding tradition – it means enhancing it. By integrating new designs, we create opportunities for artisans, engineers, and young designers to collaborate on solutions that serve both cultural and environmental needs.
Our late great calypsonian Black Stalin once sang, “We can make it if we try, just a little harder.” These words, though written in 1988, remain relevant today.
If we truly value a true Trinidadian/Tobagonian cultural identify, we must be willing to put in the effort to preserve it while pushing it forward.
But working harder is also about working smarter and collaboration is essential for this vision to become reality. The National Carnival Commission, the Ministry of Tourism, Culture and the Arts, and our universities should work together to reimagine the structural aspects of Carnival.
Private sector partnerships could provide funding, while recycling and construction companies could supply repurposed materials. With proper incentives, mas bands could be encouraged to incorporate biodegradable elements into their costumes, reducing waste while promoting sustainable artistic expression.
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Beyond physical structures, the stagnation of our festival is also evident in our waning communal spirit. Mas camps, once lively centres of artistry, have lost their allure.
It is important to note that while some bands still uphold traditional craftsmanship, the overwhelming commercialisation of larger bands has prioritised efficiency and mass appeal over cultural depth.
Reintroducing hands-on involvement in costume-making through marketed workshops, interactive sessions, or community and business collaborations could rekindle the passion and personal investment in Carnival. Similarly, we must revive the calypso tents, ensuring that the art of storytelling through song does not fade into obscurity.
If we can invest in bringing international acts to our shores for concerts during Carnival week, surely we can invest in preserving the very art form that define us.
TT’s Carnival has long been the gold standard, the mecca of all Carnivals. But maintaining that status requires us to embrace change where necessary. As evident in the invention of the steelpan, evolution does not erase history, but rather it builds upon it.
Nearly 100 years later, a perfect starting point is reimagining our approach to these vending booths, ensuring that Carnival remains a spectacle of ingenuity and tradition, a true reflection of who we are.
JASON ROPER-BROOKS
via e-mail
Trinidad and Tobago Newsday
