Taking mas higher

The Carnival Economic Impact Assessment being conducted by the Economic Development Advisory Board, the Ministry of Community Development, Culture and the Arts, the National Carnival Commission (NCC) and the Central Statistical Office (CSO) should be completed as swiftly as possible. In the meanwhile, however, that is no excuse for the State to not do what it can to maximise the current arrangements in place.

The CSO figures speak for themselves. For the years 2014, 2015, 2016 and 2017 Carnival earned at least $303 million, $321 million, $341 million and $334 million respectively. These sums are in relation to the two-week period leading up to the festival and do not include months or precursor activity. Nor do they reflect other sources of income outside of visitor spending. There is also a steady level of visitor arrivals, about 37,000 per year.

We need to capitalise on these flows and integrate them in a meaningful and sustainable way with wider economic planning.

This means a more concerted effort to focus on the quality of the product offered, including the adoption of novel synergies, and a dedicated infrastructure system which can support the festival’s expansion.

Though millions can clearly be earned, every year we become mired in confusion, disorganisation, controversy and most times signs of not being ready. Mas players remain divided across differing platforms. Panorama remains fraught with confusion despite the participation of so many players who are generally not paid and must work hard at the community level to bring out their bands.

Thankfully however, pan continues to be an attraction for the very young. The question now is how pan music can be pushed to not only continue its tradition of excellence but to also push itself in new directions.

The Parade of the Bands continues to lack creativity and originality.

Mas leaders opt for purchasing cheap look alike costumes and making millions by imposing them on fun-wanting locals and visitors. While this is an example of business simply meeting demand, there is clearly a limited product life cycle for bikini and beads. Already, mas leaders have recognised there is a yearning for a return for the higher standards of costuming and play.

What is most distressing, however, is the fact that Carnival still lacks a proper home, with us having to retrofit the Queen’s Park Savannah every year. An environmentally sustainable and cost-effective measure must be introduced, providing a level of comfort and security for all to enjoy.

The calypso as an art form continues to die supplanted by music that is easily forgotten year after year. However, soca is reaching new strides annually and this should be encouraged by widening the pool of participation in the cultural sector and by keeping an eye on the international market.

Luckily many institutions are offering courses in the Carnival arts and this is an encouraging sign that the future of the festival may be in good hands in decades to come.

For now, we can take comfort in the fact that our expertise is sought internationally as Carnival continues to flourish at Notting Hill, Caribana in Toronto, Labour Day in New York, Miami Carnival.

Bolstering Carnival revenue may not need to be a matter of spending millions. It may simply involve the State and private sector stakeholders coming together to collaborate to encourage better marketing practices and the offering of novel products. Let’s get down to work.