mas quarterly - issue 8

JAN-MAR 2015 - ISSUE 8

Transforming Mas for the benefit of all.

LorrainePouchet

NCC ChairMAN

THE CARNIVAL GATEWAYA ‘One-Stop Shop’ to buy and sell all things Mas in Trinidad and Tobago.

GOING GREEN IN THE NATIONAL INTERESTConnecting our Mas with the growing and lucrative market for environmentally friendly products, and services.

CARNIVAL 2015AND BEYONDEnsuring that the Trinidad and Tobago Carnival develops as both a festival and an industry.

This information is of a general nature only and is not intended as a substitute for professional informa-tion about Carnival and Mas Business. Eidetic Publishing has made reasonable efforts to ensure that the information contained herein is accurate and up to date. To the extent permitted by law, Eidetic Publishing, their employees, agents and advertis-ers accept no liability (even if negligent) for any injury, loss or damage caused by reliance on any part of this information. Mas Quarterly also contains information supplied by third parties. This information is identified with the name of the source and has been chosen for publication because we believe it to be reliable.

Mas Quarterly is to be published 4 times a year by Eidetic Publishing, Gaston Court, Gaston Street, Lange Park, Chaguanas, Trinidad and Tobago. Entire contents are copyright. Reproduction in part or whole is prohibited. Eidetic Publishing is in no way affiliated with companies or products covered in Mas Quarterly. Produced and printed in Trinidad and Tobago.

Editorial TeamMahindra Satram-Maharaj

Jean-Paul PouchetGisele Williams

Kennedy PembertonShiva CharlesDeanna Dass

Adanna Roland

PublisherEidetic Publishing

Editing & DesignEidetic Creative

WritersDr. the Honourable H. Lincoln DouglasSueann Ramsingh

Sasha PatramKennedy Pemberton

Carol QuashRoslyn CarringtonSheldon Waithe

Marketing ConsultantJean-Paul Pouchet

Production ConsultantKennedy Pemberton

Cover PhotographyGary Jordan Photography

Real Vibes PhotographyRainier Lange

Andy Michael RobertsGary Jordan Photography

09101216182226283640

M A S Q U A R T E R L Y - I S S U E 8M A S Q U A R T E R L Y - I S S U E 8

InsideT R A N S F O R M I N G M A S I N T O B U S I N E S S

Chairman’s Message

The Carnival Gateway

Interview With NCC Chairman Lorraine Pouchet

Touch D Sky - The Moko Jumbie Queen

Going Green In The National Interest

A Perspective On Carnival 2015 And Beyond

We Are Trinbago! Our National Identity Guidelines

Real Vibes

Regional Mas

Skin, Bones And Exercise

This information is of a general nature only and is not intended as a substitute for professional informa-tion about Carnival and Mas Business. Eidetic Publishing has made reasonable efforts to ensure that the information contained herein is accurate and up to date. To the extent permitted by law, Eidetic Publishing, their employees, agents and advertis-ers accept no liability (even if negligent) for any injury, loss or damage caused by reliance on any part of this information. Mas Quarterly also contains information supplied by third parties. This information is identified with the name of the source and has been chosen for publication because we believe it to be reliable.

Mas Quarterly is to be published 4 times a year by Eidetic Publishing, Gaston Court, Gaston Street, Lange Park, Chaguanas, Trinidad and Tobago. Entire contents are copyright. Reproduction in part or whole is prohibited. Eidetic Publishing is in no way affiliated with companies or products covered in Mas Quarterly. Produced and printed in Trinidad and Tobago.

Editorial TeamMahindra Satram-Maharaj

Jean-Paul PouchetGisele Williams

Kennedy PembertonShiva CharlesDeanna Dass

Adanna Roland

PublisherEidetic Publishing

Editing & DesignEidetic Creative

WritersDr. the Honourable H. Lincoln DouglasSueann Ramsingh

Sasha PatramKennedy Pemberton

Carol QuashRoslyn CarringtonSheldon Waithe

Marketing ConsultantJean-Paul Pouchet

Production ConsultantKennedy Pemberton

Cover PhotographyGary Jordan Photography

Real Vibes PhotographyRainier Lange

Andy Michael RobertsGary Jordan Photography

09101216182226283640

InsideT R A N S F O R M I N G M A S I N T O B U S I N E S S

Chairman’s Message

The Carnival Gateway

Interview With NCC Chairman Lorraine Pouchet

Touch D Sky - The Moko Jumbie Queen

Going Green In The National Interest

A Perspective On Carnival 2015 And Beyond

We Are Trinbago! Our National Identity Guidelines

Real Vibes

Regional Mas

Skin, Bones And Exercise

M A S Q U A R T E R L Y - I S S U E 8

Mahindra Satram-MaharajChairman/CEOMas Transformation Secretariat Chairman’s Message

Well hello there! Welcome back to Mas Quarterly, the ONLY

Magazine which highlights the business side of Trinidad and

Tobago’s Mas for the benefit of the entire sector. This issue

comes to you after the GREATEST SHOW ON EARTH and euphoria

of Carnival 2015. We hope that our readers have fully recovered

from Carnival, and we are pleased to present Mas Quarterly

Issue 8 for your enjoyment.

Our cover story this time around features Mrs. Lorraine Pouchet,

newly appointed chairperson of the National Carnival Commission

(NCC). By all accounts, she is a fearless woman who sets her own

standards and strives to leave her footprints upon every path she

travels. We are excited to have been granted an exclusive

interview to understand her goals and accolades, but most of all,

to better understand the woman who now leads the NCC. Have a

look inside as Mrs. Pouchet shares her vision for transforming

Carnival ‘the Event’ into Carnival ‘the Industry’.

Similarly, this Issue showcases the upcoming launch of Project I³M

which is a joint initiative of the Trinidad and Tobago Coalition of

Services Industry (TTCSI) and the National Carnival Development

Foundation (NCDF). Primarily, project I3M will produce an

e-commerce website known as www.carnivalgateway.com,

which is expected to become the ONE-STOP SHOP for all things

Mas/Carnival related. Mark your calendar as this innovative

experience goes LIVE on May 27, 2015.

Mas Quarterly continues to promote the diversity of our Mas, and

in February 2015 the ‘Touch D Sky’ Mas Company made history by

winning the ‘Queen of Carnival’ Competition with its fanciful

rendition of the traditional Moko Jumbie character. Join us on

for insights into the background and conceptualisation of

this masterpiece dubbed ‘The Sweet Waters of Africa’, from

designer and creative genius Mr. Alan Vaughan.

Also, do you remember the piece on the ‘Mas Gone Green’

Baseline Study from Issue 7? Well, have a look at page 18 for

details of how you can view and touch twelve (12)

Environmentally Friendly/Green Costumes at the upcoming Mas

Gone Green Exhibition. See you there from May 27 – 29, 2015!

Likewise, in keeping with the thrust to transform Mas/Carnival

into a Sustainable Industry, Dr. the Honourable H. Lincoln Douglas,

Minister of Arts and Multiculturalism shares his perspective on his

Ministry’s involvement in initiatives specifically designed to

strengthen the scope of our Carnival product.

As is customary, Regional Mas holds a special place in our hearts,

and for this first Issue of 2015 we are keen to highlight the

villages of Cedros and Chaguanas as places to indulge in a

culturally rich Mas experience. Moreover, this Issue proudly

portrays who we are as a ‘Nation of Diversity’, and encourages

everyone to collect their copy of the Trinidad and Tobago National

Identity Guidelines. After all, ‘We are Trinbago!’ but we openly

share our gifts with the rest of the world.

Our heartfelt thanks to the advertisers that partner with Mas

Quarterly Magazine, especially our newly signed 2015 Corporate

Partner TRINRE. We also celebrate the support of First Citizens,

Massy Motors, Republic Bank, the Ministry of Arts and

Multiculturalism, and the University of Trinidad and Tobago (UTT).

We challenge you to become a part of something great, and look

forward to receiving your ads and articles for Mas Quarterly Issue 9.

So sit back, relax and enjoy our latest Issue of Mas Quarterly

Magazine whether you're at a local coffee shop, on the beach or

around the Queens Park Savannah that is now littered beautifully

with the blossoming Poui Trees.

Mahindra Satram-MaharajChairman/CEOMas Transformation Secretariat Chairman’s Message

Well hello there! Welcome back to Mas Quarterly, the ONLY

Magazine which highlights the business side of Trinidad and

Tobago’s Mas for the benefit of the entire sector. This issue

comes to you after the GREATEST SHOW ON EARTH and euphoria

of Carnival 2015. We hope that our readers have fully recovered

from Carnival, and we are pleased to present Mas Quarterly

Issue 8 for your enjoyment.

Our cover story this time around features Mrs. Lorraine Pouchet,

newly appointed chairperson of the National Carnival Commission

(NCC). By all accounts, she is a fearless woman who sets her own

standards and strives to leave her footprints upon every path she

travels. We are excited to have been granted an exclusive

interview to understand her goals and accolades, but most of all,

to better understand the woman who now leads the NCC. Have a

look inside as Mrs. Pouchet shares her vision for transforming

Carnival ‘the Event’ into Carnival ‘the Industry’.

Similarly, this Issue showcases the upcoming launch of Project I³M

which is a joint initiative of the Trinidad and Tobago Coalition of

Services Industry (TTCSI) and the National Carnival Development

Foundation (NCDF). Primarily, project I3M will produce an

e-commerce website known as www.carnivalgateway.com,

which is expected to become the ONE-STOP SHOP for all things

Mas/Carnival related. Mark your calendar as this innovative

experience goes LIVE on May 27, 2015.

Mas Quarterly continues to promote the diversity of our Mas, and

in February 2015 the ‘Touch D Sky’ Mas Company made history by

winning the ‘Queen of Carnival’ Competition with its fanciful

rendition of the traditional Moko Jumbie character. Join us on

for insights into the background and conceptualisation of

this masterpiece dubbed ‘The Sweet Waters of Africa’, from

designer and creative genius Mr. Alan Vaughan.

Also, do you remember the piece on the ‘Mas Gone Green’

Baseline Study from Issue 7? Well, have a look at page 18 for

details of how you can view and touch twelve (12)

Environmentally Friendly/Green Costumes at the upcoming Mas

Gone Green Exhibition. See you there from May 27 – 29, 2015!

Likewise, in keeping with the thrust to transform Mas/Carnival

into a Sustainable Industry, Dr. the Honourable H. Lincoln Douglas,

Minister of Arts and Multiculturalism shares his perspective on his

Ministry’s involvement in initiatives specifically designed to

strengthen the scope of our Carnival product.

As is customary, Regional Mas holds a special place in our hearts,

and for this first Issue of 2015 we are keen to highlight the

villages of Cedros and Chaguanas as places to indulge in a

culturally rich Mas experience. Moreover, this Issue proudly

portrays who we are as a ‘Nation of Diversity’, and encourages

everyone to collect their copy of the Trinidad and Tobago National

Identity Guidelines. After all, ‘We are Trinbago!’ but we openly

share our gifts with the rest of the world.

Our heartfelt thanks to the advertisers that partner with Mas

Quarterly Magazine, especially our newly signed 2015 Corporate

Partner TRINRE. We also celebrate the support of First Citizens,

Massy Motors, Republic Bank, the Ministry of Arts and

Multiculturalism, and the University of Trinidad and Tobago (UTT).

We challenge you to become a part of something great, and look

forward to receiving your ads and articles for Mas Quarterly Issue 9.

So sit back, relax and enjoy our latest Issue of Mas Quarterly

Magazine whether you're at a local coffee shop, on the beach or

around the Queens Park Savannah that is now littered beautifully

with the blossoming Poui Trees.

If You’re Not Online, You’re Not on Sale

Trinidad and Tobago’s Masquerade Sector is one of the most

developed segments of our Cultural and Creative Industry.

There are over 450 micro, small, and medium enterprises

(MSMEs) involved in our Mas, but through no fault of their own

many lack the resources necessary to secure their company's

survival in the Global Business Environment.

Fortunately, the Trinidad and Tobago Coalition of Services

Industry (TTCSI) acting on an initiative proposed by the National

Carnival Development Foundation (NCDF) was selected as the

Implementing Agency for the Information Communication

Technologies for Innovation in Mas (I³M) initiative, funded by

the Inter-American Development Bank (IDB). TTCSI is the focal

point for addressing developmental and trade issues in our

Services Sector, and partnered with the NCDF, provides a means

of equipping Mas Makers with the capacity to ply their trade to

a global audience.

Project I³M therefore seeks to strengthen and promote the

economic growth of MSMEs in the Masquerade sector beyond

the local Carnival season and geographical confines of Trinidad

and Tobago. The project will therefore implement a

web-based/online platform, dubbed ‘the Trinidad and Tobago

Carnival Gateway’, and is expected to function as the

‘ONE-STOP SHOP’ to buy and sell ALL things Mas in Trinidad and

Tobago. This gateway will act as a platform to provide

substantial support and services to improve MSMEs

productivity and efficiency levels; with the aim of boosting their

overall business competitiveness.

By incorporating Information and Communication Technology

(ICT) into their businesses, MSMEs will now be able to access

new markets, reduce operational costs and facilitate global

connectivity, all while marketing Trinidad and Tobago like never

before. Project I³M is intended to contribute to the expansion

of employment, business viability and preservation of Trinidad

and Tobago’s cultural legacy, ensuring that Mas is transformed

into a sustainable industry.

Be sure to look out for the upcoming launch of the

www.carnivalgateway.com website; featuring bands like IP Mas,

Victoria Creative Mas, Legacy, Boots by Afro Chic, Passion and

more. Website features will include E-stores to facilitate credit

card purchase; a skills & materials marketplace; discussion

forums; historical information About Trinidad and Tobago, and

lots more. Join us as we go live on May 27 2015, and bring your

Mas Business into the modern era.

By Sueann Ramsingh

arnivalCCThe

Gateway

If You’re Not Online, You’re Not on Sale

Trinidad and Tobago’s Masquerade Sector is one of the most

developed segments of our Cultural and Creative Industry.

There are over 450 micro, small, and medium enterprises

(MSMEs) involved in our Mas, but through no fault of their own

many lack the resources necessary to secure their company's

survival in the Global Business Environment.

Fortunately, the Trinidad and Tobago Coalition of Services

Industry (TTCSI) acting on an initiative proposed by the National

Carnival Development Foundation (NCDF) was selected as the

Implementing Agency for the Information Communication

Technologies for Innovation in Mas (I³M) initiative, funded by

the Inter-American Development Bank (IDB). TTCSI is the focal

point for addressing developmental and trade issues in our

Services Sector, and partnered with the NCDF, provides a means

of equipping Mas Makers with the capacity to ply their trade to

a global audience.

Project I³M therefore seeks to strengthen and promote the

economic growth of MSMEs in the Masquerade sector beyond

the local Carnival season and geographical confines of Trinidad

and Tobago. The project will therefore implement a

web-based/online platform, dubbed ‘the Trinidad and Tobago

Carnival Gateway’, and is expected to function as the

‘ONE-STOP SHOP’ to buy and sell ALL things Mas in Trinidad and

Tobago. This gateway will act as a platform to provide

substantial support and services to improve MSMEs

productivity and efficiency levels; with the aim of boosting their

overall business competitiveness.

By incorporating Information and Communication Technology

(ICT) into their businesses, MSMEs will now be able to access

new markets, reduce operational costs and facilitate global

connectivity, all while marketing Trinidad and Tobago like never

before. Project I³M is intended to contribute to the expansion

of employment, business viability and preservation of Trinidad

and Tobago’s cultural legacy, ensuring that Mas is transformed

into a sustainable industry.

Be sure to look out for the upcoming launch of the

www.carnivalgateway.com website; featuring bands like IP Mas,

Victoria Creative Mas, Legacy, Boots by Afro Chic, Passion and

more. Website features will include E-stores to facilitate credit

card purchase; a skills & materials marketplace; discussion

forums; historical information About Trinidad and Tobago, and

lots more. Join us as we go live on May 27 2015, and bring your

Mas Business into the modern era.

By Sueann Ramsingh

arnivalCCThe

Gateway

hairman of the National Carnival Commission (NCC)

Lorraine Pouchet is on a drive to elevate Carnival to a

state where art, creativity, business, and heritage move

forward together as one. Pouchet has held the position

since December 2014, having replaced Ms. Allison

Demas. Although the role of Chairman of the NCC feels

like a full time job, she is also a member of the Trinidad

and Tobago Coalition of Service Industries (TTCSI), an

advocacy group for the local services sector; a

member of the Standing Committee for Sustainable

Development in Tourism; and is President of the Tour

Operators Association of T&T. She is a trained

counsellor in Original Pain Therapy, which seeks to

help trauma victims overcome their emotional

issues and move on towards healthier lives. As if

that’s not enough, she is a director of her

husband’s company, Injoy Tours.

Just hearing her reel off the list is exhausting, but

the energy rolling off her in waves is evidence

that not only is she not intimidated by her many

responsibilities, she is enjoying the ride. “I really

have a love for people. I accept them; whoever

they are. I’m at a place where it’s time to give

back.”

This philosophy informs her interactions with

people within the Carnival fraternity, letting her delve below

the surface and dig deeper. “I’m accepted in a lot of spheres,

and not intimidated by anyone in any way.” It also allows her to

be persistent in getting her ideas across, and achieving her

goals. “Once I believe in a course of action, and that I can effect

change, I am committed.”

There is much that she looks forward to achieving in the NCC,

and the key to doing so is to understand their mandate. That

mandate, she explains, has three main elements:

• To make Carnival a viable national, cultural and commercial

enterprise

• To provide the necessary managerial and organisational

infrastructure

• To establish arrangements for ongoing research, the

preservation and permanent display of the annual

accumulation of Carnival products

She likens this to her approach to trauma counselling; one

needs to go back to basics before one can move forward. One

of the first steps to doing this was a complete reorgansation of

the NCC’s human resources, creating a more structured

environment. “Instead of having two or three people doing

everything, we have strategic, structured portfolios. We can be

more effective now.”

NCC CHAIRMAN

By Roslyn Carrington

Photo by Gary Jordan Photography

LorrainePouchet

We need to ask, what benefits are there for us? It’s not a simple

thing; there are many parts to the puzzle, but once you understand

the Mission and Vision, and you utilise the persons inside and

outside of the organisation, there is no reason why you can’t

achieve your mandate.

“”

Transforming Mas For The Benefit Of All.

hairman of the National Carnival Commission (NCC)

Lorraine Pouchet is on a drive to elevate Carnival to a

state where art, creativity, business, and heritage move

forward together as one. Pouchet has held the position

since December 2014, having replaced Ms. Allison

Demas. Although the role of Chairman of the NCC feels

like a full time job, she is also a member of the Trinidad

and Tobago Coalition of Service Industries (TTCSI), an

advocacy group for the local services sector; a

member of the Standing Committee for Sustainable

Development in Tourism; and is President of the Tour

Operators Association of T&T. She is a trained

counsellor in Original Pain Therapy, which seeks to

help trauma victims overcome their emotional

issues and move on towards healthier lives. As if

that’s not enough, she is a director of her

husband’s company, Injoy Tours.

Just hearing her reel off the list is exhausting, but

the energy rolling off her in waves is evidence

that not only is she not intimidated by her many

responsibilities, she is enjoying the ride. “I really

have a love for people. I accept them; whoever

they are. I’m at a place where it’s time to give

back.”

This philosophy informs her interactions with

people within the Carnival fraternity, letting her delve below

the surface and dig deeper. “I’m accepted in a lot of spheres,

and not intimidated by anyone in any way.” It also allows her to

be persistent in getting her ideas across, and achieving her

goals. “Once I believe in a course of action, and that I can effect

change, I am committed.”

There is much that she looks forward to achieving in the NCC,

and the key to doing so is to understand their mandate. That

mandate, she explains, has three main elements:

• To make Carnival a viable national, cultural and commercial

enterprise

• To provide the necessary managerial and organisational

infrastructure

• To establish arrangements for ongoing research, the

preservation and permanent display of the annual

accumulation of Carnival products

She likens this to her approach to trauma counselling; one

needs to go back to basics before one can move forward. One

of the first steps to doing this was a complete reorgansation of

the NCC’s human resources, creating a more structured

environment. “Instead of having two or three people doing

everything, we have strategic, structured portfolios. We can be

more effective now.”

NCC CHAIRMAN

By Roslyn Carrington

Photo by Gary Jordan Photography

LorrainePouchet

We need to ask, what benefits are there for us? It’s not a simple

thing; there are many parts to the puzzle, but once you understand

the Mission and Vision, and you utilise the persons inside and

outside of the organisation, there is no reason why you can’t

achieve your mandate.

“”

Transforming Mas For The Benefit Of All.

The filling of these gaps, she believes, will allow that mandate

to be achieved. “NCC now has to take back control of Carnival,

so that no stakeholder is disenfranchised.” She reminds us of

the importance of properly managing the spending of

Government’s money on such a far-reaching mandate. “When

we report to our line Ministry — the Ministry of Arts and

Multiculturalism — there must be accountability.”

The NCC is in the process of analysing the impact of its efforts,

through public consultations with its stakeholders, and

requests for recommendations. “We are engaging with

organisations, who we believe can help us get back the

creativity in Carnival that we think we have lost. We are

engaging people whom we believe can help us move towards

that.”

This means analysing the people and resources involved, and

the benefits to stakeholders that will result. “We have to look at

how we are spending the government’s money; we have to

tighten up on everything. We need to get a better bang for our

dollar.”

In response to the ongoing debate about Traditional vs. “Bikini

and Beads” Mas, she takes a balanced approach. “Change is

inevitable, but there is place for everything. There are different

niche markets. You can never satisfy the needs of all, but we

have to find a way to satisfy the needs of most.”

Her “stakeholders net” encompasses a staggering range of

people. “It doesn’t just include the masquerader: it includes

those who are standing at the side of the road looking at the

Mas; the vendors; people living in the areas the Mas is passing

through; the Police and Fire Services, REACTT … everyone. It

includes shut-ins who can’t come out, and want to look at Mas

on TV.”

Such management requires detailed collaboration with a large

number of entities, such as media bodies and the Ministry of

Tourism. “We need to use Carnival as a marketing tool for

Trinidad and Tobago. We need to ask, what benefits are there

for us? It’s not a simple thing; there are many parts to the

puzzle, but once you understand the Mission and Vision, and

you utilise the persons inside and outside of the organisation,

there is no reason why you can’t achieve your mandate.”

The worst enemy of moving forward is a sense of apathy.

“There are those who seem to think that Carnival is a done deal,

so we don’t need to put any money into it. But it is something

we need to work on. In terms of the life cycle of Carnival, we are

in saturation and decline. The NCC needs to pull it out of that.

We need to get it back moving upwards. Once we do that, we

can start transforming Carnival the Event into Carnival the

Industry. We have to get it right for our people. We need to

create a space so that everyone can be a part of it. We must not

disenfranchise anybody.”

Part of this is ensuring that Carnival is tailored to the needs and

wants of Trinbagonians FIRST. “We need to stop trying to fit

Carnival into what we think people outside want. We need to

be true to our culture.”

One element Mrs. Pouchet would like to see return to the

on-stage presentations is dance. “We are fantastic dancers in

this country. Do you remember how it used to be: many bands

would dance, make it come alive, and present a story on stage?”

She’d also like to see a clear distinction between Carnival

Monday and Tuesday. “We can’t put everything into one day.

We need to define a Monday product and a Tuesday product.

We need to offer something so that people will come out on

Monday.”

She’d also like to see more local construction of costumes. “We

need to create more entrepreneurs in Trinidad.”

An example of an element where she sees Carnival headed in

the right direction is Regional Carnival, as people in rural areas

are finding their own events so satisfying that they are

choosing to stay out of Port of Spain. It’s also good for small

business development. “You don’t need to come into Port of

Spain to find a wire bender.”

One indicator of successful transformation of the NCC, she

thinks, is to get to a place where the NCC can generate its own

income, rather than depend on a Government-allocated

budget. Part of that would come from the services they provide.

They also want to encourage people to look to the NCC as the

primary source for information on all things Carnival. “We have

projects we want to get involved in, such as the Carnival

Institute. If people need to do research on Carnival, they should

be coming here.”

In the meantime, she is “going brave”, fearlessly sailing ahead,

and interacting with every party involved, far beyond the core

groups such as TUCO and Pan Trinbago. “You can’t call yourself

a National Carnival Commission if you aren’t in everyone’s

face,” she asserts with a laugh. “This is about relationships, and

understanding people. Next year is the 25th Anniversary of the

NCC. Carnival 2016 will have to tell everyone out there who

the NCC really is.”

We are engaging with organisations, who we believe can help us get back the creativity in Carnival that we think we have lost. We are engaging people whom we believe can help us move towards that.

”NCC now has to take

back control of Carnival, so that no stakeholder is disenfranchised.“

The filling of these gaps, she believes, will allow that mandate

to be achieved. “NCC now has to take back control of Carnival,

so that no stakeholder is disenfranchised.” She reminds us of

the importance of properly managing the spending of

Government’s money on such a far-reaching mandate. “When

we report to our line Ministry — the Ministry of Arts and

Multiculturalism — there must be accountability.”

The NCC is in the process of analysing the impact of its efforts,

through public consultations with its stakeholders, and

requests for recommendations. “We are engaging with

organisations, who we believe can help us get back the

creativity in Carnival that we think we have lost. We are

engaging people whom we believe can help us move towards

that.”

This means analysing the people and resources involved, and

the benefits to stakeholders that will result. “We have to look at

how we are spending the government’s money; we have to

tighten up on everything. We need to get a better bang for our

dollar.”

In response to the ongoing debate about Traditional vs. “Bikini

and Beads” Mas, she takes a balanced approach. “Change is

inevitable, but there is place for everything. There are different

niche markets. You can never satisfy the needs of all, but we

have to find a way to satisfy the needs of most.”

Her “stakeholders net” encompasses a staggering range of

people. “It doesn’t just include the masquerader: it includes

those who are standing at the side of the road looking at the

Mas; the vendors; people living in the areas the Mas is passing

through; the Police and Fire Services, REACTT … everyone. It

includes shut-ins who can’t come out, and want to look at Mas

on TV.”

Such management requires detailed collaboration with a large

number of entities, such as media bodies and the Ministry of

Tourism. “We need to use Carnival as a marketing tool for

Trinidad and Tobago. We need to ask, what benefits are there

for us? It’s not a simple thing; there are many parts to the

puzzle, but once you understand the Mission and Vision, and

you utilise the persons inside and outside of the organisation,

there is no reason why you can’t achieve your mandate.”

The worst enemy of moving forward is a sense of apathy.

“There are those who seem to think that Carnival is a done deal,

so we don’t need to put any money into it. But it is something

we need to work on. In terms of the life cycle of Carnival, we are

in saturation and decline. The NCC needs to pull it out of that.

We need to get it back moving upwards. Once we do that, we

can start transforming Carnival the Event into Carnival the

Industry. We have to get it right for our people. We need to

create a space so that everyone can be a part of it. We must not

disenfranchise anybody.”

Part of this is ensuring that Carnival is tailored to the needs and

wants of Trinbagonians FIRST. “We need to stop trying to fit

Carnival into what we think people outside want. We need to

be true to our culture.”

One element Mrs. Pouchet would like to see return to the

on-stage presentations is dance. “We are fantastic dancers in

this country. Do you remember how it used to be: many bands

would dance, make it come alive, and present a story on stage?”

She’d also like to see a clear distinction between Carnival

Monday and Tuesday. “We can’t put everything into one day.

We need to define a Monday product and a Tuesday product.

We need to offer something so that people will come out on

Monday.”

She’d also like to see more local construction of costumes. “We

need to create more entrepreneurs in Trinidad.”

An example of an element where she sees Carnival headed in

the right direction is Regional Carnival, as people in rural areas

are finding their own events so satisfying that they are

choosing to stay out of Port of Spain. It’s also good for small

business development. “You don’t need to come into Port of

Spain to find a wire bender.”

One indicator of successful transformation of the NCC, she

thinks, is to get to a place where the NCC can generate its own

income, rather than depend on a Government-allocated

budget. Part of that would come from the services they provide.

They also want to encourage people to look to the NCC as the

primary source for information on all things Carnival. “We have

projects we want to get involved in, such as the Carnival

Institute. If people need to do research on Carnival, they should

be coming here.”

In the meantime, she is “going brave”, fearlessly sailing ahead,

and interacting with every party involved, far beyond the core

groups such as TUCO and Pan Trinbago. “You can’t call yourself

a National Carnival Commission if you aren’t in everyone’s

face,” she asserts with a laugh. “This is about relationships, and

understanding people. Next year is the 25th Anniversary of the

NCC. Carnival 2016 will have to tell everyone out there who

the NCC really is.”

We are engaging with organisations, who we believe can help us get back the creativity in Carnival that we think we have lost. We are engaging people whom we believe can help us move towards that.

”NCC now has to take

back control of Carnival, so that no stakeholder is disenfranchised.“

Touch Touch The spirit of the Moko Jumbie is powerful, very powerful indeed.

The evidence of this exists within the walls of the Propaganda

Studio in Belmont, and in the soul of resident artist Alan

Vaughan. It was from this creative space - a fitting stone’s throw

away from the entrance to the Savannah’s stage - that the

magnificent and unique Queen of Carnival 2015 came into

being. To use those adjectives in any Carnival year takes courage

when one considers the designs on view, but to see ‘The Sweet

Waters of Africa’ in full splendour, to understand that its aura

stems from an all-encompassing authenticity in its design and

performance, is to understand what drives Vaughan’s obsession

with one of the bastions of Trinbago culture.

A Carnival veteran of over twenty years, Vaughan’s native

Newcastle accent is interspersed with Trini colloquialism and an

infectious enthusiasm. He speaks of that ‘eureka!’ moment

when designing, having experienced the same emotion when he

first saw (and fell in love with) a towering jumbie. “I love the way

these things just appear, that scary otherworldliness, you’re not

quite sure what they are. I got involved with Junior Bisnath down

south, then met Adrian Young, who with some of the older fellas,

wanted to do something different than just going up and down

to fetes. So I said, let’s form our own little group ‘cause we all had

the same idea, this was in 2012. Adrian then got selected to

work with the Cirque de Soleil circus, but we carried on anyway

and brought out the band in 2013”.

The small band called itself “Touch D Sky Moko Jumbies”, later

dropping the two last words so that it does not exclude

non-jumbies; though the focus remains firmly on the stilt

walkers. The name is a reference to the altitude achieved by the

masqueraders as well as the handing up action of the crucial

ground support staff. There are half a dozen jumbies and another

ten helpers. When it comes to resources, the band has to be

resourceful. Residual tales fill the Mas Camp’s air, of Vaughan’s

two years savings being swallowed up by the band, or other

members pawning jewellery to ensure Carnival participation!

Is the band done for profit seeking purposes? “No way! We will

be better off next year because we won the Queen competition

but really there is nothing else there. In Kings and Queens

competition you hope to place so that you get a return. There is

a rule that to register as a senior band you cannot have anyone

under eighteen. Now we’ve got a band that is a family tradition

and a lot of the players are not children, but are around fourteen

years old, that makes it difficult”. Bands of this size involved in

traditional carnival, and away from the ‘mass’ produced all

inclusive juggernauts, are heavily reliant upon grabbing the

youth and ensconcing them into the grassroots camps from

which all Carnival evolved. As Vaughan states “I think it’s a big

issue because you can come out and play but you’re not allowed

to enter the judging points with anyone under eighteen. It

matters if you’re a small band; if you do well in the competition

with a placing, then it means a bit of financial recompense”.

Another innovative option that Vaughan professes is that bands

without music trucks, such as his, should be allowed to give their

music to the NCC at the judging points. This is especially

relevant for Touch D Sky. As part of the realism of their

production, they also create their own music - there is little or no

soca on the road. The music is also integral to the creative

process, resulting in the moment that the design is realised

“Eureka!!”.

The inevitable question arises - with traditional characters only

evident in tiny bands, is there a danger of this type of

masquerade disappearing? Vaughan does not think so; he is

buoyed by the strength of the community spirit of both his

immediate environs of Belmont and the wider society of Moko

Jumbie enthusiasts. But the Carnival authorities certainly have

to do much more and change their approach to traditional

characters. As a standout example he cites the naming of the

Carnival Sunday parade of traditional characters: “It’s the wrong

name, why call it Nostalgia? It implies it’s in the past and as such

there is hardly anyone there watching”.

We are also graced by

royalty. Specifically,

Stephanie Kanhai, the newly

crowned Queen of Carnival still

glowing from her title, despite a

serious leg injury sustained on the

night of competition. The 21 year

old and Vaughan have the type of

actor - director relationship that

generates Oscars; it is little wonder that

their visible connection is already reaping

awards. Kanhai speaks of her performance -

she is the spirit protecting those crossing the

water to the Caribbean. To emphasise the depth

of validity, Touch D Sky even holds relevant

prayers and ceremony prior to their Queen taking the

s t a g e . Once on it, Kanhai’s moves on those

stilts won over the judges and gave

some redemption to the youngster:

two years ago while performing on

stilts (of course!), she fell on competition

night. At the time she felt she was going to

win and became obsessed with the fall. No

longer, there is only ascendency now.

Vaughan teasingly says that he has

“something really different planned for next

Carnival’s jumbies”, but cunningly says that any

exclusives for Mas Quarterly will have to wait. For such

a dynamic group of creators and performers, proving

that the Moko Jumbies are in good hands,

we will do so, with bated breath.

D SkyD Sky

THE MOKO JUMBIE QUEENBy Sheldon Waithe

Touch D SkyAlan Vaughan

Artistic Director & DesignerPhone 1 (868) 731 4776

Email [email protected]