MasprofilE - Antigua and Barbuda

MasprofilE
Arthur Bird
Eustace
Eustace
rbert
e
"Tuss" H
It turned out to be such a wonderful
afternoon, after being derailed by a
flat tyre on my way to try and catch
up with Eustace “Tuss” Herbert,
fondly called Tuss by many. Losing
about forty minutes at the gas station,
I wondered if my timing would be
off, as I was told to catch Tuss on
a Saturday afternoon, I had to be
at the “Backyard” located on Vivian
Richards Street by a certain time.
Arriving at the location a little past
five o’clock, I was surprised to find
some of my contemporaries there
enjoying a relaxing afternoon. The
atmosphere I must say was inviting
and not knowing who Tuss was, I
inquired, and was shocked to see
such a young looking gentleman who
I was told designed and built mas
for twenty-seven long years. To be
honest, I was looking for an older
looking person.
78
Tuss and I exchanged the normal
courtesies and I proceeded to tell
him what was my mission and how
little time we had to execute it. He
was very accommodating and felt
good when I told him that I had been
in contact with Arthur Bird. Not to
rob him of his Saturday afternoon
relaxation, we decided to do a phone
interview the next day.
Mas
Music
Fantasy
Speaking to Tuss, I realized his time
in Mas was a time when bending
wires and welding steel was the order
of the day. So unlike the costumes
that are being sported now (the twopiece bathsuit revolution), Arthur,
Tuss and others who believed in the
ole Mas, spent long hours bending
wires.
With a somewhat photographic
memory, Tuss chronicled his
involvement in Mas from 1974 when
he assisted Eddie Bedminister with
putting his 18-member group together
for Carnival, right up to when he
decided to travel abroad and hang up
his Carnival creative hat.
Tuss told me that he and Arthur
Bird started out with Philmore Small
and Connie Doram, and they called
themselves “Associated Artistes.” As
a group they had some successes,
but up to 1976, they never won the
Band of the Year title.
In 1977, the group split up but Arthur
Bird and Tuss (Color Company)
stayed together, and leading up
to Carnival that year, Arthur and
Tuss designed the costumes for
their Mas troupe called “Sun
Worshippers.” It was Tuss’ first
try at designing. The dazzling
array of colors that was used
to give the full effect of the
portrayal, mesmerized the
judges as well as the general
public, and Color Company
secured its first Band of the
Year title. Arthur and Tuss
had arrived. The next
year, with major sponsors
not too generous, Arthur
and Tuss struggled
and presented a Mas
called “Illusion.” The
presentation was
fantastic and they both
enjoyed back to back
Band of the Year
titles.
Tuss
Herbert
Cecile H. Porter
Soon after, Arthur Bird left for Canada
and Tuss Herbert was on his own.
For a number of years, he assisted
Brother “B” with his children’s Mas
troupe, and in 1989, he reunited with
Arthur Bird. The coming together
had nothing to do with designing
and building for Mas troupes. They
decided to design and build Carnival
Queen costumes instead.
From 1996 to 2001, they enjoyed a
few good years, when some of the
costumes they created won Best
Costume, and of the girls who wore
them, one went on to win the Carnival
Queen title. Arthur Bird has since
left Antigua and now resides in the
US Virgin Islands, and Tuss Herbert
returned to his Dental Lab, and the
rest is history. Thanks is definitely
in order to two great Mas designers
and builders.
MasprofilE
Connie
Heather
Few would have imagined that the
young man carrying the Romanian
coat of arms on his back as he
played Mas with Associated Artists
in the group’s 1970 presentation of
the international coat of arms, would
go on to become one of Antigua and
Barbuda’s premiere Mas builders –
Connie Doram’s affinity of combining
art with engineering and building
skills was born in the days when
Mas builders used galvanized iron
and the pieces had to be welded.
Connie honed his skill in the Mas
camp – learning to weld and turn flat
drawings into memorable costumes
that moved and took strong arms
and shoulders to carry and pull
them along. By 1980 he had joined
forces with Heather (Doram,) then
an up and coming artist, whose
costume designs and drawings are
worthy of being shown off in their
own right. The husband and wife
team have gone from strength to
strength – designing award winning
costumes for Queen Contestants,
as well as individual King, Queen
and Prince/Princess costumes. The
couple, like many artists prefer their
work to speak for them - although
Connie does not see himself as an
artist, “I am a Mas builder” - they are
both creative – while Heather’s art
is showcased regularly, Connie’s is
showcased within the confines of the
couples art filled home – sculptured
pieces of wood – chairs, tables and
statues carved from wood, rustic
and only for the family.
With two such creative types sharing
the same space, do they ever clash:
Heather laughs, “I dread the part
when I have to describe to him in
detail how the design will work,
for example the placement of the
wings, he wants to be able to ‘see’
the design in 3d from every angle,
once he can see it, he can set about
making it.”
Doram
Brenda Lee Browne
Connie jumps in to explain
the reasoning behind the
many questions: “I need
to get inside her mind and
to see exactly what she
wants, we can then discuss
how it can or will not work.
Once we are in sync I can set about
making the wire frame. We will
both look at it and then dismantle
it and rebuild inside our home,
which becomes our work shop.”
Heather explains that the decision
to make the costumes in their home
was for practical reasons: “When we
started building together in the 1980’s
our children were small and the Mas
camps were mainly unsanitary and
we would place the children to sleep
in a corner. We quit being part of the
Mas camp scene, to concentrate on
building costumes.”
Their home becomes its own camp –
as the couple spends hours farming
and decorating but the process
begins long before the design is
drawn: “I can remember teaching
a class of students at the Antigua
Girls High School and the design
literally came to me in the middle of
teaching. As soon as I went home I
scribbled the sketch, it was always
like this, ideas just came to me, I
might see a colour, piece of fabric.”
One such idea, to make a queen
contestant costume in one colour
caused quite a stir and it took a little
while to convince the sponsor that
the idea would work: “Sometime
I see a colour that excites me and
this time it was pink. This had not
been done before and we stuck to
our guns – the design was a hit even
though some Mas builders were
very scathing.”
The Doram’s had the last laugh since
the trend caught on – the couple
worked closely with the queen
contestants: “We knew how we
wanted the costumes to be portrayed
and what music should accompany
them on stage. Our pieces became
a theatrical production. We knew
what lighting we wanted and we
got to know the girls very well as
they often came by the house,
sometimes they would help and
other times just to hang out with us.”
The couple loved the whole process
from Connie collecting fabric
swatches from fabric stores to
buying trips to New York to sitting up
late into the night and early morning
decorating their creations: “By the
end of the process you tell yourself
never again but once you see the
costume on stage, you can’t really
describe that feeling of seeing your
work up there and you get ready to
do it all over gain next year,” explains
Heather.
When asked about the financial
rewards the Doram’s laugh: “It
was never about the money, we
loved the art form.” For a long
time persons thought that Connie
and Heather Doram were two very
artistic sisters.
The couple has worked in carnival
for over two decades and they have
continued on p85
come celebrate
our
golden jubilee
Culturally Speaking Natalie White – PR Marketing Events Manager
Antiguaʼs greatest summer festival has various
sets of views on origin and agenda of purpose.
Whichever observation you may choose to agree
with there is a single component that covers
all ideas. It sets the stage for great atmosphere
whether on a stage, on the city streets, at the
beach or in business places. This ageless, vast,
man made creation is Culture.
80
Culture teaches us sets of norms and morays of
being creating that which makes us as individuals
and nations rise and fall throughout our life
span. Culture causes us to create thriving or
diminishing businesses, families, unfriendly or
friendly economies. Culture causes change and
decay depending on what is allowed to expand or
contract. Culture becomes a dynamic that all of us
must sit up and pay utmost attention to or get left
behind.
Antigua and Barbuda has reached a major milestone
in this beautiful creation and the Big Banana Group
of Companies congratulates every one who has
played a part in this fifty year journey. How we
begin to measure the success of our culture, and
how we embrace the new threads being woven
into who we perceive ourselves to be, makes for
exciting thought processes.
Mas
Music
Fantasy
The Big Banana Group of Companies stands as
an example of hard work, determination, a drive
to make successful businesses that hold culture
important and hospitality with respect. ʻIn our
culture, we are taught to treat everyone who
comes to our home with utmost respect and give
them the best of what we have. Our parents were
always entertaining and we feel the same way
about our customers, we treat them as our guests.ʼ
These words should echo through every Antigua
Barbuda household. Not just at this time of fun,
frolic and festival, but daily as we bring up our
young ones to think togetherness. As we nurture
our teenagers to see the power in teamwork and
corporate identity. As we see creativity not just
as an entertainment industry, a painting for walls
or costumes to thrill the senses, but a powerful
magnate of embracing change for good or ill in a
world where huge conglomerates eat small ones
for breakfast.
Big Banana Group of Companies wishes everyone
a safe Carnival and reminds that whether at home,
in business, or liming, food, family and friends
make up the most important components of a
dynamic hospitality culture. Make this fiftieth year
a great one, where all ideas contend and our many
cultural threads merge together in harmony.
MasprofilE
Alister
Antigua has been celebrating
Carnival for fifty years, and for
more than thirty-five of those
years Alister Thomas has been
designing and building Carnival
costumes. From 1971 to present Ali
as he is affectionately called and
his Associates have the enviable
record of winning a number of
prestigious prizes in mas. He began
designing and leading his first mas
troupe (The Invaders) in 1977. His
“Fancy Flag Wavers” won 1st prize
in the Tropical Fantasy category.
Alister’s costumes have appeared
in several international magazines
and publications including,
Thomas
what many consider to be the
international Carnival bible “So Yu
Going to Carnival” as well as the
“African American Traveler.”
He has designed and built more
than fifty costumes for various
Carnival queens in the local and
Jaycees Queen shows as well as
other regional Carnival pageants.
Alister has also won numerous
prizes in many categories including
Band of the Year, Best Float, Best
Individual Costume, Best Junior
and School Mas among others.
He organized the first independent
costume building workshop, where
more than a hundred students
from various schools were taught
the fundamentals of designing and
building. Alister is one of the fore
runners in the formation of the
Antigua Mas Makers Association
(AMMA).
As we celebrate the Golden
Jubilee of the Caribbean’s Greatest
Summer Festival, let us salute one
of the stalwarts who has made
the festival successful through his
sterling contributions to Mas.
MasprofilE
George
Rick
James
Patricia Louisa Tully
One of the Pioneers of Mas
In 1953, an elaborate celebration took
place here in Antigua and Barbuda
to mark the coronation of Queen
Elizabeth II. As a matter of history,
many people regarded it as the dry run
for the first Carnival in 1957. This is
so, because the event was complete
with floats, steelband music, troupes,
iron bands parading and the like.
Back then, all the artisans showed
their skills and talents by producing
certain costumes, particularly people
like Messrs Joseph Thousand (iron/
steel) and Frank Agard (copper) who
were great designers and builders,
who imitated the Europeans and
fashioned and made all the head and
shoulder gears that the masqueraders
wore on the parade day.
At the first official Carnival in 1957, and
I say official, because Carnival started
in Point long before John “Ferdie"
Shoul and others got involved. In
1957, it was moved from the Point to
Market Street , formerly called Scotts
Row, where it was properly organized
and became an economic entity. It
was people like Maurice Michael and
a few others who really pumped a lot
of money into the Carnival when it
started.
82
Aside from Maurice Michael and
Ferdie Shoul, there were many other
individuals who pitched in and put
their creative talents to work. Among
them were the early Mas makers, and
names like the late George Williams,
Vere Bird, Jr., Basil Peters, Dalma
Watt, Marcus Christopher, Oriel
Benjamin, Pro and George “Rick”
James were responsible for creating
what was referred to as the splendor
of it all.
Mas
Music
Fantasy
George “Rick” James, usually called
“Rick James,” who hails from the New
Street area, was greatly admired at
the time by many individuals in the
community. His band competed from
the first official Carnival in 1957 with
a group of 20 persons who called
themselves, “The Remnants of
Rome.” His failure to make a place
in the competition was a surprise to
many of his supporters and some
of them became discouraged and
refused to participate the following
year.
In 1959, unable to find enough
persons to join his troupe, Rick
associated himself with another group.
Commenting on how he felt at the
time, Rick said, “I was almost at the
point of giving up. My friends told me
that luck was sailing miles from me,
but I was gripped with a determination
which made it impossible for me to
throw down my arms in surrender.”
The troupe he joined won a
consolation prize, and Rick was
encouraged. The next year, (1960),
he assisted the “Vikings” mas troupe
and they placed second in the Band
of the Year category. Rick was
further encouraged. Check out the
determination?
Things began to happen for Rick and
he believed his luck had started sailing
closer to him and it was reported that
eager fans began to press him for
entry into the 1961 competition. He
presented a 40-strong troupe called,
“Hawk People,” who placed second
in the competition. It was reported
that ‘…the judges decision was highly
disputed from almost every circle as
they were adjudged second to some
soldiers.’
Rick was very disappointed with
the decision, but stayed resolute
that he must win the Band of the
Year Trophy. However, it was not
until 1962 when he presented his
78-strong “Interplanetary Flag
Wavers,” depicting people from three
different planets in a vast flag-waving
ceremony, that he got the nod from
the judges, who the year prior had
adjudged Basil Peter’s “Bedouins”
Band of the Year.
The following year, 1963, Rick James’
“Atlantis Revellers” also walked away
with the Band of the Year trophy and
also made history (it was back to
back wins.) Brimming with delight,
Rick told the media,”…and now that
we have made this achievement, the
Band of the Year trophy will remain
in our possession until we are tired of
keeping it.”
Of Rick’s 100-strong troupe, “Atlantis
Revellers,” Richard Allen of the
“Antigua Star”, 1963, said, “James
told me that one of his main reasons
for entering again stemmed from his
observance that once a troupe had
won the Band of the Year Trophy,
they did not seem particular to enter
again. For this reason he re-entered
with “Atlantis Revellers” portraying the
inhabitants of Atlantis celebrating a
festival.”
Soon after, Rick James left Antigua
to pursue a career in acting. He has
since returned and for the Golden
Jubilee celebrations this year, he has
promised to present a mas troupe that
he calls, “Rick James and DEM,” that
will be depicting “Ceremonial Dancers
of Cibola.” He has teamed up with
Dorian Carty and Edris Silston, two
veterans in the business, and has also
asked Harmonites International Steel
Orchestra to accompany them on the
road. Antigua and Barbuda awaits
Rick James’ mas rebirth. Thank you
Rick James
Calypso
profilE
Dorbrene
OMarde
Ambassador Anthony Liverpool
Calypso and Creativity…
…Calypso lyricists…use the language
of the people with the same verbal
dexterity that once guaranteed survival
to forebears in bondage…Only now
it serves to give people a sense of
continuity and identity.” (Report of the
West Indian Commission…)
Calypso writers throughout the
Caribbean are recorders/authors of
our social history that is told in creative
rhymes, rhythms and music. They are
a group of people without honour, glory
or recognition.
For some it is a journey of love,
frustration, commitment and a desire to
set standards in the performing arts and
more specifically, the calypso arena.
In Antigua and Barbuda there is one
such author, writer and commentator
who has written more articles and
commentaries on calypso than any
other in this twin-island state. As a critic
he has always striven to offer solutions
and new ways of dealing with the most
complex of social issues.
Dorbrene O’Marde or “Fatz” as he
is called by his close friends, is an
Antiguan/Barbudan born Caribbean
writer and commentator on social,
political and cultural issues who has
made significant contributions to the
development of the performing arts in
Antigua and Barbuda. He started writing
calypsos since the mid-sixties and has
since penned hundreds of songs.
As Editor and producer of the ‘Calypso
Talk’, magazine, which was first
published in 1984, Dorbrene has
explored many topics on calypso and
expressed his views on the impact of
this art form on the society. For him
Calypso is… “a microcosm of the world
we live in..” (Calypso Talk 1986).
Over the years, Dorbrene’s interest
in calypso has been focused on the
human development issues which
shape and are shaped by the art form.
Calypsonians like Scorpion, Singing
Althea, Stumpie, Richie Francis, Slain
and many others have sung and
worked with this son of the soil whose
works are designed to capture social
issues and events in a creative and
poetic manner.
As an avid tent enthusiast, Dorbrene
is highly respected by many of our
old and young calypsonians who on a
regular basis seek him out for advice
and guidance on ways to improve their
work. In this regard he is always willing
to share his views based on strong
reasoning and facts.
What is a “Good Calypso”? And how
do we identify it when we hear it, are
fundamental questions that keep
this writer striving for innovative and
meaningful materials during every
Carnival season.
He has expressed strong views both
verbally and in his many written
commentaries,
that
calypsonians
like Destroyer senior ‘sing calypso’
true to form. The answer according
to Dorbrene, “lies in the rhythm and
syncopation- two dominant traits of all
African based music.” But in addition
to rhythm and timing of this prolific
writer and thinker promotes rhyming as
another important component of a good
calypso.
Dorbrene’s approach to writing has
caused him to explore in a very critical
way the criteria for judging calypsos……
resulting in his writing of many articles
and making several presentations on
the topic in the Caribbean .
He has judged calypso in Barbados,
Anguilla, St. Lucia, Dominica, Trinidad
and Tobago, and Montserrat .
One of the interesting things about
this committed Antiguan cultural
commentator is his genuine desire
to help and to be of service. He has
a strong respect for artists and as
a result, always tries to encourage
calypsonians who approach him to
write a song, to develop their own ideas
and messages.
In general terms, Dorbrene can be
described as a foremost ‘thinker’ who
strives to match theoretical discourse
and findings with practical everyday
experiences and forms.
His contribution in many ways to
calypso development in Antigua and
Barbuda over the last 25 to 30 years will
go a long way in helping us to further
understand the complexities of artistic
development and cultural growth.
We take this opportunity to say thank you
Dorbrene, and express our appreciation
for the work you have done in helping
to shape and mold the calypso art form
in Antigua and Barbuda.
come celebrate
our
golden jubilee
MasprofilE
Tyrone Bumpy Nanton
Erna Mae T. Hurst
The Oldest Surviving MasTroupe
THE HISTORY
OF DYNAMICS
84
Shortly after the collapse of the
Paragons Mas Group in 1971, a
group of ex-members got together
and decided to rebuild the mas group.
Although many of the leaders had
left Antigua , this group comprised
of a number of dynamic people,
who decided to get things back on
the road. The group consisted of
Pete Skilling, Hiram Warner, Ickford
Benjamin, Trevor Gonsalves and
Bumpy Nanton.
Mas
Music
Fantasy
In 1975, the Dynamics Mas group
was formed and operated out of the
Nanton’s home at the corner of Nevis
and Temple Streets. With this group
came many costume builders from
Paragons and many others who just
wanted to be members of the group.
The experienced workers led the way
by training the new comers and setting
a standard that was appreciated by
all. Dynamics picked up where the
Paragons left off by winning Band
of the Year in 1975 with its first
presentation entitled, “Treasures of
the Shell Kingdom .” This was quickly
followed in 1976 with the presentation,
“Fire on Ice.” These two wins gave the
new group a jump start and they were
off and running.
“Life in the Mas camp was lots of
fun. Just imagine all the different
personalities working side by side
night and day to get mas on the road.
It’s always so interesting to see people
drift in off the street to see what was
going on, then in an hour they were
helping, then two days after they
were apologizing for not being able to
come the following day,” says Bumpy
Nanton, one of the forces behind
Dynamics Mas group. He further
said, “Someone would run out from
time to time to get something to eat or
some friend would show up with food
and drinks for everyone. Others might
cook in a back room in the camp,
some would cut fabric, some did wire
work and some welding, while some
told jokes.” And he continued, “It was
never unusual to see someone curled
up on a bit of cardboard in a corner
sleeping soundly as if they were on
their comfortable bed at home. Work
would continue into the wee hours of
the morning, but as Carnival got closer
work would continue until sunrise
sometimes.
It was truly a labour of love.”
Some of the problems Dynamics faced
in the early days were with numbers.
In the 1979 presentation, “From the
Heavens with Love,” a judge called
the bandleader backstage and
showed him the scorecard, which
indicated that Dynamics scored the
most points, but could not win Band of
the Year, because they did not meet
the minimum requirement of seventyfive persons. An effort was made to up
the numbers and a marketing program
was immediately put in place. In the
same year, a children’s section was
also started.
As the years passed the mas camp
changed several times, but the
standard of work remained high. Even
though some of the early workers left,
a very strong core group of workers
was established. The group included
people like Erna-Mae Tonge-Hurst,
Nena Nanton, Trevor Gonsalves,
Rudolph Davis, Otis Benjamin,
Sidney Camacho, Dalma Watt and
Cedric Henry to name a few. In 1980,
Dynamics recaptured the Band of
the Year title with their presentation,
“Balloon Fantasy” led by Dalma Watt.
By this time, Bumpy Nanton moved
to Trinidad , but was still determined
to be part of Antigua ’s Carnival and
Dynamics Mas Group. The core
group, led by Erna-mae Tonge-Hurst,
would see about the production in
his absence, because they were
determined to make things work.
By the mid 1980’s, Dynamics joined
up with the “Burning Flames” and
set a new trend of music bands
and mas groups. Immediately after
engaging the ‘Flames,’ the band had
a significant increase in membership.
It jumped from two hundred and
fifty (250) members to five hundred
(500) members in a few short years.
Among Dynamics success story is the
amount of times it has won the Band
of the Year title. These wins include,
Shell Kingdom , Fire On Ice, Balloon
Fantasy, Caribbean Harvest , Light
Up the World, Music Sweet Music,
Across the Desert Sands, From Rags
to Riches, Desert Storm and Save
Earth.
continued on p85
In 1990, the Mas Association boycotted
the Carnival celebrations. Since then,
Dynamics has gone on to win the band of
the year trophy three more times with “The
Mayas” “Life’s a Carnival” and “Twenty-five
Years and Counting.” This took our Band
of the Year tally to thirteen, the most of any
band in Antigua ’s Carnival.
When asked what was Dynamics most
successful and satisfying year so far,
Bumpy said, “I would venture to say that
our most satisfying year was 1985 when
we played ‘Caribbean Harvest.’ With that
presentation, we won King of the bands,
Queen of the Bands, Prince, Princess, first
in Individuals, first in Seniors category, first
in Juniors category, Senior Band of the
Year and Junior Band of the Year. That was
also the first time any band had won all the
prizes in the same year.”
Throughout the nineties, participation had
increased significantly and a number of
groups broke away from the Dynamics
Mas Group. Although they left and formed
sizeable groups of their own, the numbers
in Dynamics still continued to grow. These
were groups such as Vitus, Legacy and
Extreme, and were later followed by
Waddali Madness and Passion. Today,
Dynamics has over 1200 people, which
represents the largest group in the history
of Antigua ’s Carnival.
When I asked Bumpy how did it all began
for him, he said, “…thirty-seven years ago
when I joined the Paragon Mas Group, it
was to have fun and learn all I could about
costume building. If anyone had told me that
thirty-seven years later my designs would
have won Band of the Year fifteen times,
King, Queen, Prince and Princess multiple
times and be in the Carnival Hall of Fame, I
would not have believed it. However, I truly
believe that none of this would be possible
without all the people previously mentioned
and hundreds more who helped and still
continue to help along the way. This isn’t
about my legacy, but about our legacy in a
collective sense.” The people of Antigua
and Barbuda salute Dynamics Mas Group
for 37 years of mas and jamming on this
the anniversary of Antigua and Barbuda ’s
Golden Jubilee.
Connie & Heather Doram - continued from p79
seen the changes: “Costumes are now
much lighter and made of flexible materials;
we no longer have to weld anything.
Mas’ players are very rarely involved in
the building process; they choose their
costumes, pay for them, and pick them up.
Today’s players are not really concerned
about the artistry.”
The couple has now stopped building,
although Heather still designs – Connie
spent ten years stepping down, working
with Mas builders at Vitus Mas camp: “I
have given them a template to work with
and now they are on their own. However, I
do go to town to watch the parade and want
to get involved; I have even come home with
a costume to wear on the road Tuesday.”
Although stepping aside is hard it is a lot less
heart-breaking than seeing their costume(s)
the day after the Queen show: “I remember
one year seeing one on top of a garbage
truck heading to Cooks – we spent all that
time and energy creating and building, and
it is discarded, thrown away. There is no
appreciation of the art form.”
So all they have to show for their decades of
work are photo albums filled with creations
in pink, gold, red, silver and a dazzling array
of costumes worn by some of the prettiest
women in Antigua and even their daughter
– pictures that span the fashion era from
dazzling ‘fros to the bouffant styles of the
80’s. Their home workspace is decorated
with pictures of the queen contestants,
each one has its own story and one day
the couple hope, there will be a National
Gallery where their work and the work of
other master Mas builders and designers
will be housed.
come celebrate
our
golden jubilee
Music
profile
Oscar
During his spare time, Oscar
would visit the movie houses
and was captivated by the
performances of the big musical
bands from America. He listened
intently to Glen Miller, Duke
Ellington and the great Louie
(Satchmo) Armstrong. It was
then that Oscar decided he wanted to
play the trumpet.
The history of Carnival in Antigua
and Barbuda would not be complete
without a mention of one of Antigua’s
true legends- the late Oscar Emanuel
Mason.
A household name in Antigua and
Barbuda, Oscar Mason was born on
November 10th 1916 in the Point area
to Amanda Faban and Samuel Mason.
Growing up was not at all easy for
Oscar, who lost his mother at a very
early age, and was estranged from his
father, who left for Cuba when Oscar
was still very young.
Oscar moved from the Point area to
Pig Village, where he lived with his
grandmother. In those days life was
very difficult and money was very
scarce, so Oscar, having to fend for
himself did all sorts of odd jobs just
to survive. It was not long before his
grandmother passed away.
86
On a daily basis, Oscar would go
fishing down at Perry Bay and would
offer his catch, which included shrimp,
fish and crabs for sale. His fishing
venture was very lucrative and later
on in life, Oscar credited the initiative
as the situation that led to his musical
success.
Mas
Music
Fantasy
He started hanging around musicians
like Hubert Edwards, Morris Bridges
and Sidney Grant and was able to
get Mr. Edwards to teach him how
to play the trumpet. Oscar became
so obsessed with the instrument
that he would spend hours and
hours practicing how to play it. Mr.
Edwards, observing Oscar’s interest
in the trumpet, would show him how
to play the scales. Oscar was a fast
learner and it was not long before he
learnt to master the instrument. His
challenge at that time was his inability
to purchase a trumpet of his own.
Governor Fiennes, who was stationed
in Antigua learned that Oscar Mason
could supply him with shrimps that
he would use as bait for his fishing
expeditions, and one day unexpectedly
Oscar received a visit from Governor
Fiennes which ultimately developed
into a lasting friendship.
Oscar made sure Governor Fiennes
was well supplied with shrimps, and
discussing with the Governor his
interest in music, Governor Fiennes
assisted him with the purchase of his
first trumpet. Oscar started playing
with a few bands and at age twentyfour in 1940, he formed his own band
and called it the “Antigua Glen Miller
Band.
Oscar did other things also. He was
a very good boxer and entered the
boxing arena as a welter weight boxer
with the name “Golden Boy.” He
was also a top class cyclist and a
bicycle mechanic. He not only repaired
Mason
bicycles, but was responsible for
assembling almost all the bicycles in
Antigua and Barbuda back then. He
was a steel pan player, an excellent
dancer, a barber, a carpenter and a
contractor. He was jack of all trades,
hence his nickname, ‘Jacks.’
In the early days before Carnival
officially started in 1957, Oscar
at Christmas time would join his
compatriots from the Point area
and would exhibit his skills as a stilt
walker (moco jumbie). He was also
instrumental in the formation of ‘Bar
20’ steelband from Kentish Village.
Because of his musical and creative
abilities, he made himself a string
bass, the first of its kind ever to be
made in Antigua and Barbuda.
Oscar was an excellent musician, who
taught all his children to play music.
His specialty was horns. Some of
his children blew the trumpet, some
played the tenor, alto and baritone
saxophones, while others played the
trombone. His is truly a musical family
to this day, and one of his eldest sons,
Tyrone Mason, is celebrated as one of
the best tenor saxophone players in
Antigua and Barbuda today. Oscar’s
family band was called “Sons of the
Vibratones.” During the Carnival
season for many years, his band
would back-up all the calypsonians
and rehersals were held nightly at
his home on South Street. To get the
Carnival spirit going, Oscar’s band
would play at certain street corners
around Antigua and at the Princess
Elizabeth Hall.
To this day, Antigua and Barbuda has
not produced another musical family,
where horns were the main feature
of the band. Oscar Mason has made
a tremendous contribution to Antigua
and Barbuda and this year, Carnival’s
Golden Jubilee, we salute the legendOscar Emanuel Mason.
Music
profile
With dreams of living a life of music
and being a positive rerflection on
their nation and its people the ‘L. A.
CREW’ (Little Antigua Crew) was
formed in 1990. Since its inception,
the band has managed through
enormous sacrifice, dedication
and hard work to become one
of Antigua and Barbuda’s most
popular and sought after musical
entities.
For the first seven years of their
existence the band confined
themselves mostly to the hotel
and tourist circuits. During which
time they also had several local
hit recordings with songs like “We
want more Money”, “Right Time
For Love”, “Helikopta”, “Ring Ting”,
“Turn Out The Lights”, to name a
few.
In early 1998 the guys decided to
depart somewhat from their rigid,
yet lucrative performance schedule
and re-commit themselves to their
recordings. So with a new twist to
their name (EL-A-KRU), the new
Kru launched their new sound and
new album “LETHAL” in June that
year.
This new mission also saw the Kru
land for the first time in the heart of
the “Soca Mecca” that is Trinidad
and Tobago’s Carnival in 1999.
Over a period of 28 days the Kru
performed in 19 shows and was the
band on the road for Peter Minshall
and his “Lost Tribe” 1999.
As if to rain on what had become
a beautiful parade on their road
to success, disaster struck. A
fire ravaged and destroyed their
band room and residence with all
their equipment. The losses were
tremendous, but a mission of faith
began.
With a stage act second to
none around the Kru have
earned themselves live stage
performances over the years for
such events as Brass Festival
(T&T), St. Kitts Music Festival,
Tortola Music Festival, the Fort
Lauderdale UNIFEST, Miami
Carnival, and Labor Day in
Brooklyn. They have blessed
stages in St. Croix, St. Thomas,
Virgin Gorda, Nevis, Montserrat,
Tobago, Miami, New York, England,
St. Lucia, Barbados, Dominica and
many more.
It is a foregone conclusion that the
“LETHAL” EL-A-KRU will soar to
new heights. With a unique and
infectious charisma they continue
to reach new territories and crossnew borders, as they proceed on
their quest to remain one of the
CARIBBEAN’S BEST.
EL-A-KRU IS:
Lead Vocals
Tanzania “Tizzy” Sebastian
Lead Vocals
Lincoln “Blade” Stanislaus
Guitar/Vocals
Glenroy “Zamba” Richards
Keyboards
Rohan “Sylky” Hector
Bass
Curtis “Suckerfish” Roach
Drums
Toyan “Dr. Slim” Jeffrey
They have won the coveted title of
“Sweetest Band on the Road” for
Antigua’s Carnival 5 out of the last
8 years.
come celebrate
our
golden jubilee
Music
profile
High
Founded in 2000, High Intensity
originated out of what was an initial
studio production. At the completion
of their Studio (HitLab Recording)
and the commencement of their
production company (HitLab
Entertainment & Production),
producer, engineer and keyboardist
Kevin Watkins along with his wife
Dulcie (Lady Smooth) Watkins
started a project which involved
the creation of a few songs aimed
at sensitizing prospective clients
to their production company and
studio sound. It turned out that
upon the release of this material,
which was a part of their Carnival
activities, there was an urgent need
to put a performance together since
this had aroused the interest of
a few promoters and the request
by individuals to see the artists
performing. Because of this, Kevin
then got a few musicians who were
interested in pursuing this sort of
venture. This then sparked the birth
of High Intensity’.
88
Realizing the impact made and the
response from the public Kevin and
Dulcie decided to keep the group
going since there was proof that
there existed a lot of potential. The
group soon found itself performing
at popular venues around Antigua
and thus creating even more impact
with the public.
Mas
Music
Fantasy
Intensity
High Intensity is a 6-member group,
which is comprised of four (4)
males and two (2) females. The
front stage performance is led by
two (2) females, with four backing
musician. The group became the
#1 Carnival band in Antigua by
capturing the Road March title
2001, a title which no other band
has been able to attain after only
one (1) year of existence. The band
signed with VP Records, putting
“Ole Time Somting” one of fourteen
(14) tracks from High Intensity’s
2001 Album “IN U FACE (Like No
Other)” on Soca Zone 2002 after
being judged the best tune for 2001
out of Antigua. This was indeed an
honor as the only other band out of
Antigua to have made a compilation
of this magnitude is “Burning
Flames”.
The band performs on a monthly
basis at Shirley Heights and other
popular spots in their hometown
Antigua. The band got the
opportunity for the first time to
play alongside the ever popular
“Burning Flames” in the Lion’s Den
during the 2004 Carnival season;
this was indeed an honor. Worth
mentioning is the band's travels
to neighboring islands Montserrat,
Dominica, Trinidad, Tortola and
the US Virgin Islands performing
alongside prominent bands such
as Imagination Brass, Violators,
Impromptu and WCK.
The present members of the
band are Kevin “Shy 1” WatkinsKeyboards/Vocalist, Dulcie
“Smooth” Watkins-Vocalist, Shanuel
“Shani” Richards -Vocalist, Vere
“Finish” Mathias-Drums, Trevor
“Sparks” Nathaniel-Guitar.
Music
profile
Burning
Flames
Everton Barnes
No history of Antigua and Barbuda
covering the first fifty years of
Carnival would be complete without
some mention of the Burning
Flames band from the Potters
community.
The band over the years, has
single-handedly revolutionized
calypso dance music, not only here
in Antigua and Barbuda and the
Caribbean, but further afield. Their
music is infectious, loud, hypnotic,
repetitive, and on occasions have
driven persons to “go on crazy.”
The international community got its
first taste of what calypso genius
is all about from band leader,
Clarence “Oungku” Edwards, with
the release of Arrow’s international
soca hit, “Hot, hot, hot,” for which
he wrote the bass arrangements.
The band has played for a number
of international artistes including
Rod Stewart, Mick Jagger and
Stevie Wonder.
From the early hits, “Stylie-tight,”
“GoGo” and “Do Anything,” in the
mid-1980’s after the band returned
from England via Jamaica, Burning
Flames went on to international
success with hits such as “Workie
Workie,” “Swinging Engine,” and
the Island Records produced
hit, “Island Girl,” a song that was
featured in the hit movie, “Weekend
at Bernie’s 2.”
The band, comprising brothers
Toriano “Onyan” Edwards, Clarence
“Oungku” Edwards, David “Krokus”
Edwards and nephew, Rhone
Watkins, has traveled extensively
throughout North America,
South America, Europe and the
Caribbean. It has also helped
to create new markets for socainfluenced dance music, which
is another cultural product of the
Caribbean. It is fair to say that
soca dance music from the Burning
Flames and Machel Montano is
being heard in areas where hitherto
only reggae, as a Caribbean
musical genre, had gone before.
When the band arrived on the
music scene in 1985, they rocked
Antigua and Barbuda and the
Caribbean like an earthquake.
What distinguished them from other
bands was their ability to blend in a
creative way their natural musical
gifts with the new technologies
in music. For example, the
programmable drum machine
along with the synthesizer, uniquely
blended with a very strong bass
line, created a signature sound
for the band. Many referred to
their music as “jamb band music”
which attracted a multitude of
fans who at times seemed to be
lost in the moment. During the
Carnival celebrations each year,
particularly on J’ouvert morning
or Last Lap, groups of revellers
refuse to “jump-up” unless the
Flames are on the road. It’s surely
a spectacle to observe hundreds
of tired, intoxicated, worn out party
goers, who never seem to get
enough, traveling from the heart
of St. John’s all the way to Potters
just to get the last of the Flames
until the next year. It is safe to say
that since the mid-eighties, Burning
Flames have been rulers of the
road during the Carnival season.
Today, across the Caribbean, there
are many imitators, but only one
true Burning Flames band. Writing
this feature on my number one
band is a source of joy particularly
for the band’s accomplishments.
When the band signed on with
Island Records, I felt that it was
the spark that would ignite the
band’s rise to the much anticipated
international success. After all, it
was Island Records, through its
founder, Chris Blackwell, who was
credited for making Bob Marley
the Third World’s first international
musical superstar.
continued on p90
come celebrate
our
golden jubilee
Music
profile
Joseph
Yousef
advertising budget with
him to make sure that the
effort was successful.
Without a doubt, the biggest single
lead-up to Carnival each year is
what everyone refers to as “Jam
Corner.”
This brilliant Carnival warm-up
was actually started by the late
Anthony Michael when he did a
promotion for the Total Eclipse in
1998. In 1999 and also in 2000,
he hosted two sessions each year
and the people came and enjoyed
themselves to the max.
However, after his passing, his
son, Yousef, decided to expand
the event and changed the name
to “Jam Session.” He was quite
elated when a few sponsors
decided to share some of their
continued from p89
90
From the band’s inception, they have
developed a strong following of dance
music lovers, and each year they
continue to sing on topics that are
so simple, yet, extremely meaningful
and clever. The band members are
blessed with voices that can sound
exactly like a donkey’s bray or a cock’s
crow. Extremely versatile, each one
brings his unique contribution into a
Mas
Music
Fantasy
In 2001, with the session
getting bigger and better,
“Jam Session” became the
place to be on a Thursday night,
whether you reside here, or you
are just visiting. The Joe Mike’s
Plaza located on lower Nevis Street
and Corn Alley comes alive with
music, people laughing, talking,
dancing or just milling around, in
an atmosphere of good music,
excellent performances, the smell
of bar-b-que chicken and ribs, fried
fish, people chatting on cell phones,
while others conduct their own
conversations. The whole area
becomes a busy hub of activities,
and with good weather, a Wadadli
beer and some aged Cavalier, one
could not ask for a better night out
in Antigua and Barbuda .
Every Thursday night, various
artistes get an opportunity to
promote their songs before the
actual Carnival competitions, and
those who cannot afford to release
blend of singing lead, backup or just
making noise. A permanent fixture at
the Lion’s Club for some of the best
Carnival fetes to date, Burning Flames’
signature was always geared towards
a command. It’s the only band that
issues commands that are readily
obeyed. Songs like, “Rush over
dey,” “Push Somebody,” “Wet dong
de place,” “Swim, shark ah come,”
and others that have created a sort
of frenzy among their fan base. Over
the years, at the start of Carnival,
everyone looked forward to Jamb
Corner which was where the band
released most of their music for the
Michael
a CD, are allowed to promote their
tunes also. It’s full exposure for the
artistes.
Speaking briefly to Yousef at the
first “Jam Session” leading up to
the 50th anniversary of Carnival,
he had this to say, “the jam session
tonight went fairly well, I am happy
there were no fighting or the
like, because one of the things
we stress here is no violence or
anybody coming to the sessions
with weapons.” He further stated,
“we are very serious about that.”
On any given Thursday night if
you are looking for something to
do, Jam Session is the place to be
- it’s the perfect lime. Come out
and enjoy the likes of Claudette
“CP” Peters and the Taxik band,
Onyan and the Burning Flames,
Tizzy and Blade with El-A-Kru and
High Intensity featuring Smooth
and Shania.
Jam Session has grown into a huge
gathering and is a sweet, sweet
lime. Don’t miss it!
Carnival season. From 1985 to 2007,
the Burning Flames band has won the
Carnival Road March title 15 times.
That is surely a remarkable feat.
Today the Burning Flames has split
into two separate bands, “Red Hot
Flames,” and “Onyan and the Burning
Flames.” Although both bands are
holding their own and continue to
entertain audiences at home and
abroad, die hard fans long for the day
when the two entities will re-group as
one. If this can be accomplished, I am
almost sure that the “Burning Flames”
will once again ‘bun down de place.’
Laviscount Brass Orchestra, one of the oldest
bands in Antigua and Barbuda has been around
since the 1940’s. The band got its name from its
founder and string bass player, John Laviscount.
Although the band has changed its personnel on
quite a few occasions, there are some players who
have etched a permanent spot in the hearts of
many music lovers.
On this the 50th Anniversary of Carnival,
recognition and respect is paid to men like John
Laviscount (string bass), Cleveland “Cleavy”
Joseph (drums), Neil Willock (piano), D.P.
(banjo player), Stachel Edwards (saxophone),
Dennis “Den Den” Phillip (guitar), Bruce Denimore
(saxophone), Cooper Prescod (trumpet), Reginald
“Lucian” Charles (trumpet), Carver James (piano),
Ferdinand “Pops” Phillip (guitar), Lionel Southwell
(congo player), present captain since 1977 Teddy
Bridges (bass), Calypso Ricky, Gene Mason
(saxophone), Eustace Gonsalves (vocalist), Oscar
Scott (trumpet), Dashen (organ) and others.
Below photo:
Laviscount Brass
Ferdinand “Pops” Phillip (guitar player
with the band for over 40 years)
rass
Laviscount B
come celebrate
our
golden jubilee
Albert "Paddy" Simon
When Carnival officially started
fifty years ago in 1957, Point was
considered the mecca of Carnival.
Everything from iron bands,
steelbands, mas troupes, moco
jumbies, clowns, highlanders, John
Bulls and Calypsonians came out
of the area. In those days, it was
a culturally vibrant community and
certain norms and customs were
strictly adhered to. Today, it is still
home to the oldest steelband, Hell’s
Gate, and also home to one of
Antigua’s spirited iron bands, which
goes by the name of the “Point and
Villa Iron Band.”
92
Research has shown that the oldest
iron band in Antigua and Barbuda
came out of Urlings village. Back
then, the Estate Masters would allow
the plantation workers to serenade
them and their guests with the iron
band music. Even though the iron
band lives on today, very little has
been written about it’s origins and
development. It has been reported
Mas
Music
Fantasy
that in 1899, the capital of Antigua
was Parham Town . After that year
everything moved to St. John’s and
in 1920, all the other areas of Antigua
which were ports of entry were closed
and Bryson’s Wharf became the sole
export and import area of Antigua . At
the time, the two leading businesses
were the Antigua Sugar Factory and
Bryson’s Shipping and Insurance
Company. These businesses made
Point the center of commerce. It was
quite unique as the depot was situated
in the area and the fellas who limed
around the corner would usually
collect used utensils, old drums, cans,
tin cups, scrap metal, tin pans, old iron
and pieces of steel, etc. which were
used to form iron bands. It was a way
of amusing themselves and keeping
the spirit in the community alive. One
could expect the iron band to strike up
whenever anything of importance was
happening in the community.
When the steel pan was introduced
in Antigua and Barbuda back in 1945,
most of the men who were part of the
iron band fraternity then, eventually
became the pioneers of the steel band
movement. Some of the early iron
band players included the late Bruce
“Fundu” Bloodman, Rupert “Pappy”
Mussington, Leroy King who has since
passed on, and Rupert “Teela” Parker.
These old guards have been replaced
by a new crop of iron band players.
Still resident in the Point is Samuel
“Muqush” Hill, and his son, Boris Hill,
along with other enthusiastic iron
band lovers who year after year, feel
compelled to keep iron band music
alive. Without a doubt, the iron
band is much older than Carnival,
but somehow, there is no official
documentation of their involvement in
the celebrations.
When Vitus made its debut as a Mas
group some years ago, the steelband
and the All Saints Iron Band were
the music engaged to carry particular
sections of their presentation, and
have been since then. It was a good
move by Vitus since the historic value
derived from the engagement has
been tremendous. The Iron Band,
which was looked down on at a
certain time in our history, is now an
acceptable form of music and has had
exposure at various spots around the
island. To keep it culturally alive, it
must definitely be tied to the tourism
product as a part of our indigenous
offering. Long before the advent of
the hi fi and jam bands, the iron band
along with the steelband were the
only musical components that kept the
Carnival revelry going.
As we celebrate fifty years of Carnival,
it is surely in order to celebrate the
longevity of the iron band, whose
iron may continue to rust, but whose
sounds get even sweeter. Big up de
Iron Bands man!
Ivor Bernard Ford
Any important milestone in the development and growth
of a people and nation must give reason for reflection
on what has happened, how growth has taken place,
and what should be the future mission of the event
being observed. And so, on this the Golden Jubilee of
Antigua and Barbuda’s Carnival, the Caribbean’s most
popular summer festival, it is imperative that every
effort be made to sustain its growth and survival.
The temptation to mirror the Trinidad & Tobago and
Brazilian brand of Carnival is not only incising, but
real. However, during the next fifty years, Antigua and
Barbuda must be prepared to chart a new course as it
relates to Carnival here in this twin-island State. The
challenge poses real imagination as how to develop its
own and peculiar brand of Carnival.
At the core of this new branding of Carnival over
the succeeding fifty years, there must be a real
understanding and appreciation of, and the purpose
for the festival. Secondly, there must be a more lavish
and generous douse of cultural ingredients in every
aspect of Carnival. Thirdly, greater participation and
involvement of the communities and young citizens of
this Nation are key to the attainment of the new mission
of this summer festival.
It is irrefutable that there has been a steady and an
unwitting downgrading of the real ingredients of what
should be, not just a period of mimicking Trinidad
& Tobago and Brazil, but a greater showcase of our
culture, inclusive of the calypso music, the steelband,
and a better portrayal of our historical past reflecting
pre-emancipation and post emancipation.
Emancipation of our people must be the focal point
of the observance of this new brand of Antigua and
Barbuda’s summer festival. Obviously, too, no longer
must there be separate events of CARIBANA in Barbuda
and Carnival here in Antigua. Planning must include
Barbuda dovetailing its activities into Antigua’s, thus
making it more attractive for the throngs of returning
nationals and visitors who come home every year for
Carnival in Antigua. Just think of the excitement this
would generate if properly planned and executed!
For the success of the new branding of Antigua and
Barbuda’s summer festival, it will be necessary to institute
a professional and full-time management committee,
including
the various
stakeholders
of the festival.
This entity would
have to be responsible
to the nation for its financial
arrangement,
armed
with
the necessary authority to
raise its own funding and
sponsorship.
Finally, Carnival is too
important a contributor to
the national economy to
be allowed to meander
as it has been over
the past 25 years
or so. The time for
a new approach is
essential, and the time
for a decentralization
from St. John’s to the
outlying communities
is overdue. Carnival
must be people-driven
in this national, social and
cultural event, in which the
stakeholders must feel that
they are included and that
they also have a stake in the
festival.
Whatever the new brand, fifty
years on from now must reflect people and community
involvement and participation; greater emphasis on
cultural cogent, including steelband, the calypso
art form and mas portraying our historical heritage.
Talent, quality and capability of our people are here in
abundance. Let us fully capitalize on them and move
Carnival to another level in Antigua and Barbuda.
come celebrate
our
golden jubilee
The missileaires Band
More often than not, a sense of
intrigue and mystery always seem to
surface whenever the
name Moko Jumbi is
mentioned particularly when a suggestion is
made in the context of spiritual rituals.
John Bull
Many of the conversations that follow usually suggest something
that borders beyond the realm of the supernatural and encourages
the thought that there are many things in life yet to be explained. It is
a well known fact that when Africans were stolen from their countries
many centuries ago and brought to the Caribbean as slaves, they
brought with them their customs and their culture. A part of that
rich culture is the tradition of the Moko Jumbies, who have been
impressing crowds for many centuries with their stilt dancing
and acrobatic moves. Today, Moko Jumbies are still very
popular and are still a part of Carnival in Antigua and
Barbuda.
The character, which has a long and distinct history,
firmly fixed in African roots, emanated in Ghana, West
Africa, and is still quite prevalent today in places like
Senegal, Guinea and Mali.
Many of you may not
remember The MissileAires who were the
musicians forming the
Air Force Band from
Patrick’s Air Base in
Florida.
For many years since 1959, the
Antigua Carnival Committee,
and indeed all who have enjoyed
Carnival in Antigua, have been
most fortunate in having the MissileAires here to add to the delight and
entertainment of the week of fun and
merry-making.
Each year, by special request, the
Missile-Aires journeyed here and we
have enjoyed their presence and their
music. They have been generous
enough to say that they enjoy being
here and especially to play for us at
Carnival time.
Deeply embedded in the religious and spiritual beliefs of
African people, the name Moko Jumbi is a derision of “mock”
which is to mimic and deceive, and “jumbi” is a term used
to describe an evil spirit, therefore, a Moko Jumbi can be
characterized as mimicking the spirits.
Moko Jumbi
The identity of the Moko Jumbi
character is very difficult to recognize
as the face and body are always fully covered and the face
mask by design always portrayed something very scary. One
of the first stilt dancers in Antigua and Barbuda was the late
Oscar Mason who made his debut in 1958 and dazzled both
old and young spectators on Scotts Row (now Market Street)
with his colorful costume and some outrageous antics and
tricks from breathtaking heights in the air. Don’t talk about
the one-foot dance which Oscar was famous for on the stilts.
When he girated and spun around holding one leg in his
hand, he would leave crowds astonished at the tremendous
control exhibited through sheer balance.
Over the years, others have been inspired to carry on the
tradition, and for many years, Vitus Mas group has
continued the trend and has even developed
an avenue for those interested to
learn the art of stilt dancing to so
do. They have also developed a more
glamorous costume than the original which
was a blend of straw, shells, raffia and
leather strips, by incorporating taffetas,
satins, sequin trim, ribbons, bells, etc. as
part of the new Moko Jumbi outlook with
the baggy pants look and a midrifftied shirt,
vest and cone hat
completing the new
costume.
MasQuerader
I can’t
remember any year
when they visited that they stayed for
the entire Carnival. A lot of people used
to regret that they had to leave and at times
wanted to entertain them with some of our
music.
However, this year, as we celebrate our
Golden Jubilee, it is truly in order to say
‘thank you’ to the Missile-Aires for the
many years they entertained us during the
Carnival festivities.
JCI ANTIGUA
In 1960, The Antigua Junior Chamber was conceived
by Mr. Ian Shoul , a Singer Sewing Machine
Representative. The founding members included
Mr. David Tuach , Mr. Stephen Shoul , Mr. Daniel
Mendes (deceased), Mr. Peter Williams , Mr. Albert
Richards (deceased), Mr. Conrad Shoul (deceased),
Mr. Raymond Chaia and Mr. Ian Shoul .
In 1962, the first Antigua Jaycees Caribbean Queen
Show was executed under the Chairmanship of Mr.
Maurice Michael and Jaycees were subsequently
given the mandate to draw the first seating plans
for the Antigua Recreation Grounds. Following
thereafter the Jaycees Caribbean continued to make a
meaningful contribution to our annual summer festival
Antigua Carnival. This show brings together an array
of beauty, talent, intelligence and culture through the
participation of the contestants, and has also been
used as a means of fostering Caribbean Integration.
The show consists of five segments:*
*
*
*
*
Opening Number - Not Judged
Interview Segment
Swim-Wear
Performing Talent
Evening Wear
We have made significant changes to this project
over the years. In 1985 the National Dress and Talent
Segments were introduced under the Chairmanship of
Miss Carmen Carr and in 2005 the Costume Segment
was removed. Despite those changes this show
remains a key feature of the Antigua Summer Festival
– Carnival. The Jaycees Caribbean Queen Show
is recognized as the longest running pageant in the
region now 46 years in existence and a milestone by
any standard.
Within the area of Community Development we define
the last tenet of our creed “Service to humanity is
the best work of life” by giving of our skills, time and
resources to the community through our contribution
to Carnival. Undoubtedly, this project is the largest
and
longest
undertaking
of the Junior
C h a m b e r
Antigua as well as within
the West Indies Junior Chamber. Like other
projects, Jaycees Caribbean Queen Show affords members
the opportunity to put into practice the skills acquired through
planning, implementation and execution.
We extend hearty congratulations to Antigua and Barbuda as
we celebrate our Golden Jubilee Anniversary - Caribbean’s
greatest summer festival and also welcome the Queens,
Chaperones, visitors and returning nationals to our twin
Island state.
Brenda Lee Browne
Designing evening gowns for Carnival
Queen contestants and various
Pageant delegates over the years, has
propelled Calvin “Calvin S” Southwell to
a new level in the world of high fashion,
creativity and design.
A modern day Fashion Designer, Makeup Artist, Stylist and former Model,
now turned model Agent and Beauty
Coach, Calvin S has surely arrived on
the big stage. His name is not only
a household name here at home in
Antigua and Barbuda, but is rapidly
becoming known to many across the
region in the Fashion industry.
Calvin S and evening gowns go
together like wine and cheese, and as
the years go by his designs get finer
and finer. It all began in 1991 when he
was approached to create an evening
gown for a Queen Contestant, “Yvette
Butler.” After that episode, the sky
was the limit for this creative genius,
who has won best evening wear
designer ten (10) times, with seven (7)
consecutive titles from 1996-2002.
98
Of course, being the humble, honest
individual he is, he is quick to admit
that it is the works of Heike Peterson
Hudes, Jeanette Caines, Mrs.
Chambers, Rylis Wade, the late Pat
Federick and other evening gown
designers that have set the pedestal on
which he stands today. For as early
as he can remember, they were his true
inspirations.
Mas
Music
Fantasy
His work has adorned both models and
beauty queens locally and regionally.
His success has nothing to do with
financial gain, but more so his love
of designing. As he quickly stated, “I
am not one of those designers that
just make a gown and present it to the
contestant; first, a level of honesty and
openness must be established between
us so that the contestant’s personality
is exposed in order for me to create the
proper design that will fit her personality
and propel her into the winning circle.
As his reputation as a trainer and
designer gained momentum, in 2000
he was commissioned by the Miss St.
Maarten Universe Organization to work
with their delegate as she prepared
for the competition in Cyprus. Calvin
S not only designed her costume and
evening gown, but was contracted to
train her in her overall presentations as
well.
Witnessing the Miss Universe Contest
that year, he realized that Antigua
and Barbuda was being left out of
something good, hence his quest
in securing the franchise to select
delegates to represent our twinisland nation at these prestigious
international beauty pageants. Prior
to 2000, Antigua and Barbuda had
only participated two times back in
1977 and 1979. To date, we have
seen constant participation from 2001
and so far we have had successes.
In 2001, Zara Razzaq placed fourth
runner-up in the Miss Intercontinental
pageant, in 2003, Kai Davis was
voted Miss Congenial at the Miss
Universe pageant and in 2004,
Shermaine Jeremy was adjudged
the Most Talented woman in the Miss
World Pageant. Although Antigua and
Barbuda has not won a title, Calvin
believes it’s only a matter of time.
With the recognition that he enjoys
locally and regionally, in 2003, he
was awarded the Grand Order of
Merit for his work in the arts, and
in June 2007, he received the “Top
Caribbean Designer 2006/2007” award
at a prestigious gala presented by
“Shabeau Magazine” which was held in
Barbados.
In addition to Pageants and Carnival,
Calvin S also worked with various
entertainment groups and artistes on
island, helping them to enhance their
look and presentations.
His one of a kind designs and signature
styles usually make a bold statement
wherever they are presented. His
fashion line carries the motto: ‘why
wear anything else.’ Calvin S has
being singled out from other designers
of long-standing, simply because he
was able to take fashion designing in
Antigua and Barbuda to another level
– the world stage. Hats off to this
creative, down-to-earth son of the soil.
We salute you!
Calvin S. has pledged to continue to
serve his community, his brothers and
sisters and his beloved Antigua and
Barbuda
The Economics of
Carnival
Antigua style
Cortright Marshall
Carnival is a prime source of
employment generation in areas such
as sound recording, lighting, stage,
arts management, video production,
promotions and the accompanying
food and beverage sector, which
support live events.
The cultural and creative industries are
areas in which Antigua and Barbuda
enjoy some comparative advantage
and Antigua’s Carnival is a prime
example. As a socially integrative force
and an outlet for cultural and artistic
expressions, Carnival is presently one
of the defining features of the country’s
cultural landscape.
Carnival like most cultural or creative
industries is the economic activity of
artistes, arts enterprises, and cultural
entrepreneurs in the production,
distribution and consumption of music,
dance, visual arts, costumes and
fashion. Carnival therefore constitutes
a significant source of earnings for
these groups of service providers.
The value of the Antigua Carnival in
terms of its artistic excellence and
affirmation of cultural identity are
therefore well known, although not
completely documented. What is
less known, is the economic impact
of carnival on tourism, trade and
commerce and cultural industries as
well as on the wider local economy.
In short, Carnival has not only become
a cultural industry but a major vehicle
for economic empowerment and
advancement of individuals, groups
and local communities. It plays a
significant role in the development
of cultural industries, tourism and
the overall national economy of the
country.
The fact is, although carnival has shown
tremendous potential as a cultural
export, its economic contribution to
tourism and national development is
not fully captured in existing national
statistics. Nor is it an integral part of
the tourism development strategy in
spite of its great demand-pull for the
tourism sector.
100
The fact is Antigua and Barbuda’s
Carnival, is one of the most well known
festivals in the region alongside the
world-class Carnival of Trinidad and
Tobago, the famous Rio Carnival
in Brazil and Mardi Gras in New
Orleans.
The festival attracts hundreds of
international and inter-regional visitors
and returning nationals, who spend
hundreds of dollars for a variety of
services such as transport, hotel
accommodation, restaurants, and
retail just to mention a few. Many
of the visitors participate actively in
the celebrations. They are part of
the audience of the calypso “tents”,
the lively entertainment sessions at
places like “Lions”, Coast Night Club,
Spliff’s Bar – “the Gate” and Kings
Casino, etc. where calypsonians,
entertainers and live-bands perform
almost nightly.
Mas
Music
Fantasy
In this new service sector global
economy, it is critical that the relevant
authority, be it the Ministry of Tourism
or the Ministry of Finance and the
Economy, commission a study on
the economic impact of Carnival on
the economy of the country. Such
a study should include a detailed
assessment of the impact of Carnival
on the country’s foreign exchange in
sectors such as hotels, airlines, retail
outlets, independent vendors and
cultural industries. The study should
also examine tourism arrivals, visitor
expenditure, and hotel occupancy
rate, as well as its contribution to the
diversification and the competitiveness
of the tourism industry.
Recent studies on the economics
of Trinidad and Tobago’s Carnival
have shown that the festival attracts
approximately 40,000 visitors and
some US$15 million in foreign
earnings, including US$0.5 million
in departure taxes, US$2.25 million
in indirect taxes (value added tax of
15% applied to visitor expenditures
of US$15 million). The Government’s
expenditure on Carnival yields a ratio
of benefits to costs of 7 to 1.
I am sure that the aforementioned
suggested study of the economic
impact of Antigua’s Carnival on the
local economy will reveal similar
outcomes.
In Antigua and Barbuda, Carnival
is without doubt where culture
and economics meet to create an
unforgettable experience of a lifetime
for citizens, residents and visitors
alike. As a vehicle for the celebration
of our emancipation from slavery, all
efforts should turn to crafting a strategy
to maximize and realize its cultural
and economic potential (including
measuring its economic impact)
in this our 50th year of celebrating
our freedom, self-assertion and
independence as a proud, black and
liberated people.
come celebrate
our
golden jubilee
although officially celebrated for
the first time in 1957, began as far
back in 1831 as part of “rebellion
and resistance to oppression”.
1831 was a year of sustained
and unrelenting struggle by the
slaves themselves to put an
end to the cruel and inhumane
existence on the plantations,
not only here in Antigua but also
throughout the Caribbean.
(L.T. Hector “The First Carnival
in 1831”, July 26, 2002).
“Carnival in the eastern Caribbean,
including Trinidad and Tobago of
course, is the greatest exhibition of
the visual arts”
(L.T.Hector. Fan the Flame. “The Art
of Carnival and the Carnival of Art”.
July 28, 2000).
The essence of life and living is to
allow people to express their creative
abilities. And Antigua’s Carnival, the
Caribbean greatest summer festival,
is the ultimate presentation of cultural
tradition that leave hundreds of fans
at the Antigua Recreation Grounds
“Carnival City”, other entertainment
“spots” and the streets of Saint John’s
overflowing with joy, excitement and
ecstasy. According to the country’s
most renowned historian, Leonard
Tim Hector,
“Carnival is the Festival, which
attempts, for just a brief period, to
release those creative possibilities
of the dominated majority, in song, in
dance, in wit, and not least, in the art
of the Mas”.
102
(L.T. Hector “The Art of Carnival and
the Carnival of Art”. July 28, 2000) For
Tim, the country’s summer festival,
Mas
Music
Fantasy
The renowned Antiguan historian
therefore rejects the pure costbenefit analyst of Carnival in
preference to social-cultural
benefit. And this, not withstanding
Tim’s recognition of the fact that
Carnival has now become a catalyst
for significant economic activity.
According to the country’s historian:
For Leonard Tim Hector:
“To allow people, to express their
creative abilities, is, I repeat, the
essence of life and living”
And yet, Tim’s assessment of
Antigua’s Carnival did not stop there.
Tim was steadfast in his opinion that
over the years, Carnival has lost
what he often referred to as “that
consciousness of Emancipation”.
And according to the noted historian,
the country’s foremost cultural
festival re-organized and celebrated
for the first time in our modern history
in 1957, partly in commemoration
of emancipation from slavery and
in part as a tourist attraction is now
“completely smothered over in “jam
and whine”.
To overcome this degeneration,
the renowned historian, Leonard
Tim Hector advocates strongly that:
“Carnival has to be governed by
an aesthetic, an Afro-Caribbean
aesthetic. Or it is mere sound and
fury, pure jam and whine, in response
to a Bum-Bum, a mere bang-bangLulu, as an end in itself; or worse
yet, degeneration into “One.. two...
and one”, a patent exercise in
pointlessness”.
(L.T.Hector “Why don’t we celebrate
emancipation? Because it hasn’t
happened yet? August 22, 1997).
Finally, it must be stated clearly,
that Tim is not without praise for the
pioneers and present day architects
of our Carnival, and particularly those
who worked tireless to maintain the
historical and afro-Caribbean aesthetic
of our Carnival. These cultural icons,
notably Marcus Christopher, Maurice
Michael, Ferdie Shoul, Maurice
Ambrose, Alister Thomas, King
Short Shirt, Mighty Swallow, Eustace
Manning, and Heather Doram just to
name a few, are lauded with praise
until their “cup runneth over” in the
pages of the Outlet Newspaper for
their creative abilities, talents and
work.
However, as we celebrate this our
50th Anniversary of Carnival
“jumping and jamming” to the pulsating
rhythms of steel bands, brass bands,
iron bands or enjoying the satirical
rhythms of our calypso, or admiring
the reverberating beauty of our queen
contestants or the brightly colored
costumes and beautifully decorated
floats on parade or enjoying one of
our delicious local cuisine,
Leonard Tim Hector would behoove
us to rekindle our “sense of focus, a
sense of mission, or sense of purpose,
a sense of overcoming”.
In so doing, we will liberate ourselves
and thereby start afresh on the
exciting journey of liberation, for in the
words of George Lamming:
“Free is how you is from the start,
and when it look different, you got to
move, and when you moving say is
your natural freedom that make you
move”
George Lamming.
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KEEPING THE
CARNIVAL
SPIRIT ALIVE
Dr. Lester CN Simon
I get the Carnival spirit on Carnival
Sunday. After many slavish weeks of
rehearsal and playing in the calypso
tent, the Calypso Monarch Competition is only hours away. I read and
re-read my music sheets, looking for
familiar and unfamiliar phrases and
tricky parts. I play all of these parts
over and over until I am freed from
regarding every musical phrase. I tell
myself that I and the other members
of the band, who go through the same
routine, are links in a chain of events
that started long ago and must never
die.
Tim Hector said that Carnival is an
Afro Caribbean expression of freedom. When I consider the freedom
with which we play the written music
on Carnival Sunday night, I am reminded that freedom comes out of
years of discipline and dedication and
perennial frustrations and arguments
during rehearsals and the tents. Freedom is not free.
To realize the spirit of Carnival to keep
it alive, we have to confront the genesis of our freedom from slavery and
plantation life. This requires a critical
examination of the primordial state
from which freedom was wrestled. In
this regard, we must know that capitalism begot slavery and not vice versa
and that the reasons for slavery were
not moral but economic circumstances. This is why Eric Williams’ book
is called Capitalism and Slavery, not
Slavery and Capitalism. Eric Williams
also recorded that “Slavery was not
born of racism: rather, racism was the
consequence of slavery”.
Hence, all of us West Indians face
an assaulting paradox. We must celebrate the freedom from the primordial economic slavery, which had become a blinding racial phenomenon,
and at the same time, we must learn
to enslave ourselves once again. This
second, self-inflicted enslavement must be to the rigors
and discipline of hard work
for ourselves, our families,
our communities and for nation building as we contribute to the entire development of human
kind. In short, we West Indians, black,
white, indigo and in between, have to
find a new economic order together,
whilst we celebrate our freedom from
economic slavery. Keeping the Carnival spirit alive demands that we pay
rapt attention to the root of all evil and
the fruit of our labour that underwrote
our freedom.
But another paradox is bearing down
on us West Indians. As we prepare to
take on the world by binding together
in one community, we hear rumblings
and clamours of a new economic slavery of the small, vulnerable Caribbean
states by the large, powerful ones. We
ignore history, our story, at our peril.
History has shown us the disastrous
effects of enslaving black, African
people on the basis of economics and
then effecting racism. Why then did our
new leaders use economics again as
the basis for bringing the 15-member
group of Caribbean states, with a market of 14 million people, together in a
Caribbean Single Market and Economy (CSME)?
A prerequisite to CSME must be an examination by West Indian black, white,
indigo and in between, in public and in
toto, of Caribbean people’s emancipation from slavery. Thereafter, the cultural celebration of Carnival as emancipation will be complete, such that
“Jam and Whine” do not become the
only, banal focus but stylized paraphernalia to our central Carnival spirit. After
all, even ballerinas have to whine as
they strut across the stage and stand
en point, less they topple over from ignoring the laws of physics.
Only after we have done the examination and the real celebration can we
possess what Tim Hector called, “a
sense of focus, a sense of mission, or
a sense of purpose, a sense of overcoming”. This is why he said that our
first Carnival was in 1831. That was
the year when closure of the Sunday
Market was threatened and when, after fighting firepower with real fire, the
slaves celebrated their triumph in a
cavalcade of masqueraders, bands,
drums, sticks and masks of horns of
oxen.
According to Tim Hector, “African
slaves here in particular, developed an
African custom or tradition at Sunday
Market, the one day, and the single day
they did not work on the plantation....
(when) they gathered in circles talking
and laughing, and ridiculing those in
planter power”.
And so, on Carnival Sunday, as we
musicians, calypsonians, spectators
and judges prepare to re-enact our
Sunday Market, we are indeed keeping the Carnival spirit of the freedom
of Sunday Market alive. But we must
never forget that freedom is predicated
on a base of rigid discipline. What we
must keep alive is the spirit, the eternal
life-force to solve the unique, West Indian paradox that we cannot ever allow
the severity of slavery to deny our attention to new forms of indispensable
rigidity. This is the Carnival spirit we
must birth and keep alive.
come celebrate
our
golden jubilee
SIR JOHN
FERDINAND SHOUL
Tracelyn Cornelius
Baldwin to request that the following
Tuesday be declared a holiday. After
listening to the proposal, the Governor
agreed, but that wasn’t the end of it,
since the word had to get out to the
people. Ferdie and a few of his friends
traversed the entire island using trade
union loud speakers to declare the good
news to the residents.
Born in 1911 on Long Street to a family of
Lebanese immigrants, the late Sir John
Ferdinand Shoul (affectionately called
Ferdie) is best remembered for being
a very shrewd businessman. But only a
few members of the younger generation
will truly grasp Ferdie’s contribution to
both the development of Tourism and
Carnival in Antigua and Barbuda .
As the first native born Chairman of
the country’s Tourist Board, Ferdie
Shoul was given the task of staging the
festivities to commemorate the Queen’s
Coronation in 1953. Under the theme
“We Too Rejoice” and with Ferdie at
the helm, the Coronation Committee
put on what most people described
as Antigua’s first real taste of a major
Carnival.
So successful was the event that, Ferdie
was beseeched to stage an annual
festival in 1957. It was a difficult task,
but the Tourist Board Chairman was
able to convince the sugar barons of the
economic viability of a summer festival.
As one of the founding fathers of
Antigua’s Carnival, Ferdie was inevitably
elected Chairman of the Carnival
Committee, and held that position for
many years and was knighted for his
years of service to his country.
Sir Ferdie Shoul and his wife Lady
Marie Shoul opened up their home for a
number of Carnival related activities and
many Committee planning sessions for
quite a number of years.
Many stories of Ferdie’s contribution to
the art form continue to be circulated,
but perhaps, his most memorable
achievement was when he spearheaded
a plan to salvage the rained out New
Year’s Day Mas parade in 1950. New
Year’s Day in Antigua has always been
celebrated with a grand parade.
106
In 1950, New Year’s day fell on a
Sunday and as was the custom, the
Mas
Music
Fantasy
holiday was celebrated the following
Monday. Hundreds of spectators and
vendors lined the streets and were
utterly disappointed by the deluge of
rain that fell for most of the day.
Visibly disappointed, the crowds left the
scene with the vendors lamenting over
their heavy losses. But Ferdie, realizing
the dismay of both the town and country
folk, intimated to a few of his colleagues
that they should approach Governor
And, as the story, which was recorded in
the January 5, 1950 edition of the “The
Workers Voice” goes, when the grateful
masqueraders and steelband men went
up to Government House to thank the
Governor he said “Don’t Thank me.
Thank Mr. Shoul.” On the occasion of
the 50th anniversary, we salute Sir John
Ferdinand Shoul.
108
Mas
Music
Fantasy
come celebrate
our
golden jubilee
110
Mas
Music
Fantasy
112
Mas
Music
Fantasy
CELEBRATING
YEARS
Carnival
of
www.antiguacarnival.com
www.antigua-barbuda.org
(888)268-4227
We join with the citizens of
Antigua & Barbuda
in the celebration of our
Golden Jubilee.
Building solid partnerships!
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#156 Redcliffe Street,
St. John’s, Antigua
Tel: 480-2700
Web: www.abifinancial.com