Mas Quarterly - Issue 4

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JAN-MAR 2014 - ISSUE 4

06

This information is of a general nature only and is not intended as a substitute for professional information 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 advertisers 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 informa-tion 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 Team

Mahindra Satram-Maharaj

Jean-Paul Pouchet

Kennedy Pemberton

Gisele Williams

Shiva Charles

Deanna Dass

Publisher

Eidetic Publishing

Editing & Design

Eidetic Creative

Writers

Sheldon Waithe

Carol Quash

Mushtaq Sookoor

Basil Lai

Roslyn Carrington

Marketing Consultant

Jean-Paul Pouchet

Photography

Arthur Sukhbir

Damian Gill

09101218232430323640

Chairman’s Message

The Rise of Monday Wear

The Princes of Passion

Paramin Blue Devils

Mas Tips

Real Vibes with Lime.tt

Peter Reynald

Regional Mas

Can We Effectively Manage Mas?

Save Your Skin

07

M A S Q U A R T E R L Y - I S S U E 4M A S Q U A R T E R L Y - I S S U E 4

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

06

This information is of a general nature only and is not intended as a substitute for professional information 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 advertisers 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 informa-tion 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 Team

Mahindra Satram-Maharaj

Jean-Paul Pouchet

Kennedy Pemberton

Gisele Williams

Shiva Charles

Deanna Dass

Publisher

Eidetic Publishing

Editing & Design

Eidetic Creative

Writers

Sheldon Waithe

Carol Quash

Mushtaq Sookoor

Basil Lai

Roslyn Carrington

Marketing Consultant

Jean-Paul Pouchet

Photography

Arthur Sukhbir

Damian Gill

09101218232430323640

Chairman’s Message

The Rise of Monday Wear

The Princes of Passion

Paramin Blue Devils

Mas Tips

Real Vibes with Lime.tt

Peter Reynald

Regional Mas

Can We Effectively Manage Mas?

Save Your Skin

07


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

elcome back to Mas Quarterly Magazine, and we wish all a

speedy recovery from what proved to be an electrifying 2014

Carnival Season. Be sure to book early for Carnival 2015,

because our efforts continue to help Mas practitioners innovate the

experience to be had from ‘The Greatest Show on Earth’.

If you are new to Mas Quarterly, we are delighted that you have

come across our premier business magazine, geared towards

promoting the professionalization and export of Trinidad and

Tobago Mas. Mas Quarterly takes an in-depth, commercial look

behind the scenes of our Mas industry, while sharing the creative

genius of local Mas practitioners with a global audience.

In this issue, one may ask, what is Mas without passion? The answer

to this question is featured on page 13, where four entrepreneurial

young princes put their heads together to ensure

that Carnival 2014 saw the debut of Passion the

Band. Let Christian Nath, Mark Paguandas,

Dr. Anthony Harrysingh and Shival Maharaj indulge

your visual intellect with ‘Passion’, a sexy, youthful,

contemporary band complete with glittering gems

and cascades of feathers.

Interestingly, Basil Lai shares his perspective on the

evolution of Monday Mas, into a warm-up street parade with

“masqueraders opting not to wear full costume”. According to

Basil, in more recent times ‘Monday Mas’ has emerged as a day of

self-expression when masqueraders adorn themselves in outfits of

their own design. Mr. Lai even suggests that Mas bands took the

emerging ‘Monday Mas’ trend to the next level by offering special

‘Monday wear’ in their Carnival packages.

Today, some critics argue that Trinidad & Tobago Carnival is losing

its essence to 'Mardis Gras', but make no mistake, ‘Ole-time’ Mas is

alive and well, as can be seen in the form of the Paramin Blue

Devils. Sheldon Waite brilliantly explains that this particular

portrayal is connected with the mythical mountain basin known as

Paramin, while having strong ties to the natural wonder of the

land. So if you are intrigued by a tale that involves method acting,

the beating of biscuit tins, body painting and fire breathing, then

many others like Sheldon may be right to argue that this kind of

Mas is the base of Carnival.

Similarly, costume, dance and merriment are all key parts of Mas,

but let us never forget that backstage of the Spirit of Trinidad &

Tobago Carnival there is a well-oiled business machine that

demands tremendous logistical coordination and administrative

expertise. Thus, this edition contains an exclusive feature on Mas

Administrator Peter Reynald. Be sure to discover the humble

beginnings of this cultural icon, who now lends his expertise to the

work of the National Carnival Development Foundation (NCDF).

Undoubtedly, Mas is our thing, and while many have experienced

it in the capital city Port of Spain, Mas Quarterly Magazine also

encourages its readers to partake in these celebrations in the local

boroughs as well. In this issue, we share the

experiences of Mas in Tunapuna, and Biche, two of

many regional festivities that will impress you with

their community atmosphere, style and energy.

Finally, this issue concludes with a hard-hitting piece

by Mushtaq Sookoor, that strikes at the very core of

our state of readiness to effectively manage Mas. This

article examines Mas on a spectrum ranging from

conceptualisation to its closing, while highlighting the importance

of customer satisfaction. Notably, Trinidad & Tobago Mas, when

compared to others, has metamorphosed from observational to

experiential in nature, and this is our key differentiating factor.

As always, we can never forget to acknowledge our corporate

partners as we push boundaries to package and export local

creative talent. We especially must make mention of Pan American

Life Insurance Company Ltd., who came on board as our Mas

Quarterly Magazine Corporate Champion 2014. Special thanks

also to Alamo Vehicle Rentals, Trinre Insurance, Neal & Massy

Automotive, Advanced Cardiovascular Institute, West Shore

Medical Hospital, University of the West Indies, One Caribbean

Media, and Seven Seas for their show of confidence. So sit back,

relax, and enjoy this Issue of Mas Quarterly compliments of the

Mas Transformation Secretariat.

M A S Q U A R T E R L Y - I S S U E 4

Mahindra Satram-MaharajChairman/CEO

Mas Transformation Secretariat

InsideChairman’s Message

W

10 11


n the ever-changing landscape of the Trinidad and

Tobago Carnival industry, the opportunities for new

business and entrepreneurship are steadily keeping

pace with masqueraders’ evolving demand for new and

exciting products and services. This demand has fuelled

every metamorphosis of the festival from the birth of

‘bikini and beads’ to the ‘all-inclusive’ bands.

I’m sure when the first ideas of hosting a roving band on the

road with free drinks to its hundreds, or sometimes thousands

of masqueraders was tabled, the idea that an army of

‘ropemen’ would be employed as the answer to the logistical

problems that comes with such service sounded crazy. Then

again, if you have ever followed Carnival on any level, you would

agree that those that are successful at it seem to understand the

magic of making the impossible the next big craze.

The latest among these seemingly organic developments

within the business of Carnival is the evident rise of what

has been coined “Monday Wear” for masqueraders. Now, as I

have explained, this is a uniquely Trinidad and Tobago

phenomenon, mainly because our Carnival is held over two

days, each crafted into its own individual experience by the

masquerader over the back-to-back event.

Carnival Monday has evolved to be more of a warm-up day,

with masqueraders opting not to wear the full costume.

Instead, small groups of friends within bands, gradually

started to appear in matching tees, and even decorated

them, using beads, airbrushing, paint and glitter and other

individualised add-ons.

This was first picked up by the big band Island People, now IP

Mas, facilitating this emerging trend by offering actual

Monday Wear in the costume package…very forward thinking.

Yuma, and maybe a few others now, have adapted the trend

as well, but this was a commercialisation of a trend that was

born of the masquerader, and now they are innovating again.

An even newer trend has started to emerge over the past

five years or so: masqueraders are now leaning towards

using the relaxed costume code of Monday, to not only wear

a bit of what they want, but to personalise it with the

assistance of professionals. This emerging trend has taken

root and is forming the basis of a new spin-off business for

design professionals of the industry.

As Mas Quarterly was chatting with designer and costume

producer Rawle Perminand at his home workshop in

Aranguez, he explained that this started as a labour of love

for him and quickly turned into a business. “I would

personalise the costumes of my sisters and cousins, and it

was fun,” he said. Now, his designs are featured in leading

bands like Yuma and newcomer Passion, in Trinidad, and

Carnival Nationz of Toronto.

But those are the actual costumes, a growing part of his work

is also making personalised Monday Wear designs for

masqueraders. Best described as flirting with the uniqueness

of playing Mas in an individual costume, this new trend can

be as simple as original earrings designed to match the

costume, to a full pair of feathered wings or Mohawk

headpiece. “I try not to clash with the original designer’s

work and to complement it, so the Monday piece doesn’t

look out of place”, Perminand maintains.

As for this becoming a full-fledged second revenue stream,

this successful Carnival entrepreneur with just three years’

professional experience is musing that the phenomenon can

only truly take root in this market as “we are the only ones

that have a two-day event,” and although he produces for

customers in Toronto, Miami, Houston and of course, Trinidad

and Tobago, he expects that this will remain more of a

“boutique” service, accessed by only the truest of the

Carnival aficionados, those that want to put their personal

stamp on their Carnival Experience.

CARNIVAL MONDAY HAS EVOLVED TO BE MORE OF A WARM-UP DAY, WITH MASQUERADERS OPTING NOT TO WEAR THE FULL COSTUME.

By Basil Lai

10 11


n the ever-changing landscape of the Trinidad and

Tobago Carnival industry, the opportunities for new

business and entrepreneurship are steadily keeping

pace with masqueraders’ evolving demand for new and

exciting products and services. This demand has fuelled

every metamorphosis of the festival from the birth of

‘bikini and beads’ to the ‘all-inclusive’ bands.

I’m sure when the first ideas of hosting a roving band on the

road with free drinks to its hundreds, or sometimes thousands

of masqueraders was tabled, the idea that an army of

‘ropemen’ would be employed as the answer to the logistical

problems that comes with such service sounded crazy. Then

again, if you have ever followed Carnival on any level, you would

agree that those that are successful at it seem to understand the

magic of making the impossible the next big craze.

The latest among these seemingly organic developments

within the business of Carnival is the evident rise of what

has been coined “Monday Wear” for masqueraders. Now, as I

have explained, this is a uniquely Trinidad and Tobago

phenomenon, mainly because our Carnival is held over two

days, each crafted into its own individual experience by the

masquerader over the back-to-back event.

Carnival Monday has evolved to be more of a warm-up day,

with masqueraders opting not to wear the full costume.

Instead, small groups of friends within bands, gradually

started to appear in matching tees, and even decorated

them, using beads, airbrushing, paint and glitter and other

individualised add-ons.

This was first picked up by the big band Island People, now IP

Mas, facilitating this emerging trend by offering actual

Monday Wear in the costume package…very forward thinking.

Yuma, and maybe a few others now, have adapted the trend

as well, but this was a commercialisation of a trend that was

born of the masquerader, and now they are innovating again.

An even newer trend has started to emerge over the past

five years or so: masqueraders are now leaning towards

using the relaxed costume code of Monday, to not only wear

a bit of what they want, but to personalise it with the

assistance of professionals. This emerging trend has taken

root and is forming the basis of a new spin-off business for

design professionals of the industry.

As Mas Quarterly was chatting with designer and costume

producer Rawle Perminand at his home workshop in

Aranguez, he explained that this started as a labour of love

for him and quickly turned into a business. “I would

personalise the costumes of my sisters and cousins, and it

was fun,” he said. Now, his designs are featured in leading

bands like Yuma and newcomer Passion, in Trinidad, and

Carnival Nationz of Toronto.

But those are the actual costumes, a growing part of his work

is also making personalised Monday Wear designs for

masqueraders. Best described as flirting with the uniqueness

of playing Mas in an individual costume, this new trend can

be as simple as original earrings designed to match the

costume, to a full pair of feathered wings or Mohawk

headpiece. “I try not to clash with the original designer’s

work and to complement it, so the Monday piece doesn’t

look out of place”, Perminand maintains.

As for this becoming a full-fledged second revenue stream,

this successful Carnival entrepreneur with just three years’

professional experience is musing that the phenomenon can

only truly take root in this market as “we are the only ones

that have a two-day event,” and although he produces for

customers in Toronto, Miami, Houston and of course, Trinidad

and Tobago, he expects that this will remain more of a

“boutique” service, accessed by only the truest of the

Carnival aficionados, those that want to put their personal

stamp on their Carnival Experience.

CARNIVAL MONDAY HAS EVOLVED TO BE MORE OF A WARM-UP DAY, WITH MASQUERADERS OPTING NOT TO WEAR THE FULL COSTUME.

By Basil Lai

One of the greatest things about Carnival is its dynamic nature; it’s always in a state of

flux. Trends begin and fade out, tastes change, and bands come and go. And while

many masqueraders are hard-core loyalists, who swear to stick with their chosen band

‘till death’, there are others who are always hungry for a new experience, always

searching for a fresh new face among the crowd.

And Carnival 2014 saw such a new face on the road, in the form of Passion, a sexy,

youthful, contemporary band replete with glittering gems and cascades of feathers.12


By Rosyln Carrington

The

13

PRINCES OF

One of the greatest things about Carnival is its dynamic nature; it’s always in a state of

flux. Trends begin and fade out, tastes change, and bands come and go. And while

many masqueraders are hard-core loyalists, who swear to stick with their chosen band

‘till death’, there are others who are always hungry for a new experience, always

searching for a fresh new face among the crowd.

And Carnival 2014 saw such a new face on the road, in the form of Passion, a sexy,

youthful, contemporary band replete with glittering gems and cascades of feathers.12


By Rosyln Carrington

The

13

PRINCES OF

14 15


assion was founded by four young, progressive

entrepreneurs who have been involved in the local

entertainment industry for years. They are:

Christian Nath, Mark Paguandas, Dr. Anthony Harrysingh

and Shival Maharaj.

“We have all been Carnival enthusiasts our entire lives,” they

tell Mas Quarterly. “We’ve played Mas and served on

committees of different bands over the years.” Saddened by

escalating prices for costumes, often coupled with declining

benefits to the masqueraders, they decided to launch their

own band, where they could put their experience in the

entertainment business to good use.

“We wanted to emphasise three areas. First, excellence in

customer service, listening to our customers and striving to

meet and exceed their expectations. Second, we want to

guarantee quality of costumes, both in the design elements

and in their durability.

Finally, the Mas experience, ensuring that masqueraders

enjoy themselves, and aren’t restricted by who they

know or don't know to ‘get in.’ This isn’t a members-only

product, so people who have never had the

Port-of-Spain Mas experience or the big band

experience can join us.” Once these elements are

provided, Passion declares, they are confident that they

can promise their players a fantastic Carnival.

The band also promises to take the hassle out of playing by

taking care of all the details, providing a premium ‘all-inclusive’

experience without the premium price tag. Furthermore, the

Passion experience looks to extend well beyond Ash

Wednesday, as players can expect to enjoy preferential

treatment during their upcoming post-Carnival events.

While for economic and logistical reasons some costume

elements are sourced abroad, the group also includes local

elements. “We believe wholeheartedly in supporting local

entrepreneurs and local talent, and have engaged some of the

best and up and coming designers for our costumes.”

Counted among these talents are names like Richard and

Anthony Hall, Sonia Mack, Tobye Gill, Rawle Permanand, and

Stephanie Ramlogan. “We wanted to ensure that our

costumes stood out and included different design elements.

We asked our designers to envision their creations along the

lines of the core theme of Passion; the sections are named

after the deadly sins.”

As far as T&T’s thrust towards marketing Carnival

internationally goes, the group agrees that they provide a

Mas experience that can only be found here. But there are

intangible elements, such as our dynamism, spirit,

exuberance, and passion, that are difficult to qualify. “Carnival

is more than just buying a costume; it’s the excitement, the

fun, the letting go of cares for just a couple days. There’s

nothing else in the world like it. This is what we need to show

the world, and this is how we encourage them to come here.

To experience that Trini spirit and personality.”

They also see the importance of encouraging our own people,

who have established their lives abroad, to return to these

shores to enjoy the season — and not to come alone.

“People need to understand for themselves, see this first

hand. And that's why speaking directly to our diaspora —

people who know our culture — is important. Encourage

them to come back home, bring their friends and family, and

enjoy Carnival once more.”

The youth and dynamism of the founders is reflected in their

philosophy of using technology and social interaction not just

to promote our local Carnival offerings but also to assess

consumer opinions and feedback. “Customers are welcome

and free to provide their feedback in person at the Mas camp,

through our website, via telephone or email. We are listening

to them and fine-tuning our operations all the time.”

In response to the on-going debate about traditional Mas vs

what has come to be known as ‘bikini and beads’, the group is

sensitive to the traditionalists, and hold no disrespect for

Carnival’s humble roots. “We believe that there’s a place for

all in our Carnival. The traditional Mas is beautiful, and

deeply rooted in our story-telling and character tradition.

It endures because it’s an homage to our history in a very

theatrical presentation that people appreciate. Traditional

Mas will be around for many, many years, and that it’s

something that we in the Carnival business should preserve,

as it ties us to the origins of Carnival.”

Nonetheless, they explain, people do also enjoy the ‘bikini

and beads’ costumes, as it provides an entirely different

experience in terms of the spirit and energy. Of course, we

enjoy that element of dressing up and showing ourselves off.

The majority of the market, they claim, is attracted to this

option nowadays, and, fortunately, there is such a wide range

of offerings in the market that people are free to pick and

choose what suits them best.

And in the face of the aforementioned constant state of flux

that is Carnival, they are confident that they will continue to be

a part of the landscape for a long time to come. This is based

on their ability to consistently deliver on their promises through

customer service, quality of costumes and an exceptional

experience, all keys to creating a loyal membership, and their

ability to innovate year after year in terms of designs and our

overall offerings. “This is what will set us apart and bring new

masqueraders into the Passion family.”

So for this Carnival, a brand new band is coming out strong,

and ready to take on all contenders. “We’re new, but we are

hitting the road in 2014 with a bang! Come join us and see

for yourselves what we’re all about!”

...Carnival is more than just buying a costume; it’s the excitement, the fun, the letting go of cares for just a couple days...

Passion can be reached at 222-2405

14 15


assion was founded by four young, progressive

entrepreneurs who have been involved in the local

entertainment industry for years. They are:

Christian Nath, Mark Paguandas, Dr. Anthony Harrysingh

and Shival Maharaj.

“We have all been Carnival enthusiasts our entire lives,” they

tell Mas Quarterly. “We’ve played Mas and served on

committees of different bands over the years.” Saddened by

escalating prices for costumes, often coupled with declining

benefits to the masqueraders, they decided to launch their

own band, where they could put their experience in the

entertainment business to good use.

“We wanted to emphasise three areas. First, excellence in

customer service, listening to our customers and striving to

meet and exceed their expectations. Second, we want to

guarantee quality of costumes, both in the design elements

and in their durability.

Finally, the Mas experience, ensuring that masqueraders

enjoy themselves, and aren’t restricted by who they

know or don't know to ‘get in.’ This isn’t a members-only

product, so people who have never had the

Port-of-Spain Mas experience or the big band

experience can join us.” Once these elements are

provided, Passion declares, they are confident that they

can promise their players a fantastic Carnival.

The band also promises to take the hassle out of playing by

taking care of all the details, providing a premium ‘all-inclusive’

experience without the premium price tag. Furthermore, the

Passion experience looks to extend well beyond Ash

Wednesday, as players can expect to enjoy preferential

treatment during their upcoming post-Carnival events.

While for economic and logistical reasons some costume

elements are sourced abroad, the group also includes local

elements. “We believe wholeheartedly in supporting local

entrepreneurs and local talent, and have engaged some of the

best and up and coming designers for our costumes.”

Counted among these talents are names like Richard and

Anthony Hall, Sonia Mack, Tobye Gill, Rawle Permanand, and

Stephanie Ramlogan. “We wanted to ensure that our

costumes stood out and included different design elements.

We asked our designers to envision their creations along the

lines of the core theme of Passion; the sections are named

after the deadly sins.”

As far as T&T’s thrust towards marketing Carnival

internationally goes, the group agrees that they provide a

Mas experience that can only be found here. But there are

intangible elements, such as our dynamism, spirit,

exuberance, and passion, that are difficult to qualify. “Carnival

is more than just buying a costume; it’s the excitement, the

fun, the letting go of cares for just a couple days. There’s

nothing else in the world like it. This is what we need to show

the world, and this is how we encourage them to come here.

To experience that Trini spirit and personality.”

They also see the importance of encouraging our own people,

who have established their lives abroad, to return to these

shores to enjoy the season — and not to come alone.

“People need to understand for themselves, see this first

hand. And that's why speaking directly to our diaspora —

people who know our culture — is important. Encourage

them to come back home, bring their friends and family, and

enjoy Carnival once more.”

The youth and dynamism of the founders is reflected in their

philosophy of using technology and social interaction not just

to promote our local Carnival offerings but also to assess

consumer opinions and feedback. “Customers are welcome

and free to provide their feedback in person at the Mas camp,

through our website, via telephone or email. We are listening

to them and fine-tuning our operations all the time.”

In response to the on-going debate about traditional Mas vs

what has come to be known as ‘bikini and beads’, the group is

sensitive to the traditionalists, and hold no disrespect for

Carnival’s humble roots. “We believe that there’s a place for

all in our Carnival. The traditional Mas is beautiful, and

deeply rooted in our story-telling and character tradition.

It endures because it’s an homage to our history in a very

theatrical presentation that people appreciate. Traditional

Mas will be around for many, many years, and that it’s

something that we in the Carnival business should preserve,

as it ties us to the origins of Carnival.”

Nonetheless, they explain, people do also enjoy the ‘bikini

and beads’ costumes, as it provides an entirely different

experience in terms of the spirit and energy. Of course, we

enjoy that element of dressing up and showing ourselves off.

The majority of the market, they claim, is attracted to this

option nowadays, and, fortunately, there is such a wide range

of offerings in the market that people are free to pick and

choose what suits them best.

And in the face of the aforementioned constant state of flux

that is Carnival, they are confident that they will continue to be

a part of the landscape for a long time to come. This is based

on their ability to consistently deliver on their promises through

customer service, quality of costumes and an exceptional

experience, all keys to creating a loyal membership, and their

ability to innovate year after year in terms of designs and our

overall offerings. “This is what will set us apart and bring new

masqueraders into the Passion family.”

So for this Carnival, a brand new band is coming out strong,

and ready to take on all contenders. “We’re new, but we are

hitting the road in 2014 with a bang! Come join us and see

for yourselves what we’re all about!”

...Carnival is more than just buying a costume; it’s the excitement, the fun, the letting go of cares for just a couple days...

Passion can be reached at 222-2405

18


By Sheldon Waithe

It’s the ultimate scare of Carnival; forget the Midnight Robber and his grand charging

‘gun-talk’, or the hairy, chain-bound, shape shifting lagahoo. When it comes to

friendly fear, the in-your-face Blue Devils take the title. Appropriately, these

other-worldly creatures stem from a part of Trinidad far removed from the norm:

the mythical mountain basin of Paramin, with its strong ties to the natural wonder of

the land and its maintenance of tradition in the face of corporate evolvement.

PARAMINPARAMINDEViLSDEViLSBLUEBLUE

19

18


By Sheldon Waithe

It’s the ultimate scare of Carnival; forget the Midnight Robber and his grand charging

‘gun-talk’, or the hairy, chain-bound, shape shifting lagahoo. When it comes to

friendly fear, the in-your-face Blue Devils take the title. Appropriately, these

other-worldly creatures stem from a part of Trinidad far removed from the norm:

the mythical mountain basin of Paramin, with its strong ties to the natural wonder of

the land and its maintenance of tradition in the face of corporate evolvement.

PARAMINPARAMINDEViLSDEViLSBLUEBLUE

19

jab Jab20 21


ith their azure hue, the Paramin Blue Devils are certainly the most striking of the

traditional Carnival characters, and their behaviour distinguishes them as some of

the most energetic. Pitchforks, tails and bat wings transforms the performers into

‘jab jabs’, flicking their tongues and gesticulating with all the verve of seasoned

demons, allowed their time on the world stage once a year. It is the ultimate in

method acting for Carnival.

Mark Felicien has been involved with the premier Blue Devils band ‘Rhapsody in

Blue’ for 31 of his 46 years; Paramin-born and bred, he has the unique perspective

of where the jab jabs came from, what they represent, and what the future holds.

He also has clear ideas as to what changes are required to ensure the survival of

the Blue Devils. In his time, the Devils made forays into J’Ouvert and fetes, then

decided to retreat to the sanctuary that is home. He got involved in the Blue

Devils when he “saw older heads making costumes and taking part in the

Carnival Monday competition; I wanted to be part of that as it was a big part of

my Paramin upbringing. At 15 years old, I started playing.”

Mark then struck out on his own, forming Rhapsody, where, with the help of

his wife and son, he makes Blue Devil costumes for approximately 50

revellers each year. It is hard work, with little help from outside and little

exposure, given the relative remoteness of their biggest competition.

Remember that while the entire Carnival focus is on the larger cities,

Paramin is hosting its own Carnival competition in a highly specialised

genre. It is not a competition for traditional Carnival characters; it is an

exclusively Blue Devil competition. Can it survive like this? “Like

everything else in traditional Mas, there is more competition from

big bands, fetes springing up all over the place.” says Felician. “But

people forget that this kinda Mas — beating biscuit tin and using

body paint — is the whole base of Carnival. We have some

support, but not all the time. For instance, a few years ago we

received a stipend from NCC (National Carnival Commission),

which covered buying raw materials, but then the Board

changed and that stipend stopped. That situation would

work again, because the raw materials are very

expensive. We’re not looking for funds for other stuff, just the raw

materials. It put us in a position where we have to pay for it all

ourselves.” What about the private sector? “We tried that, but

there is not a lot of interest. A few years ago we used to get paid to

perform at fetes on Carnival Sunday, but then that stopped, too.”

He acknowledges, though, that there are still outlets provided by

the authorities for the necessary exposure for the Blue Devils.

“Other than Camboulay and the Carnival Friday, Traditional Mas in

Port of Spain, we now have the Nostalgia Parade and the Traditional

King & Queen events down in South Quay. For these events we get

some funds, but it is small.”

Felicien speaks of the unique situation and contradiction between

his band and the big Mas entities that appear to be gobbling up all

in their path. “People pay to play Mas with those big bands ... I

have to pay my revellers to play for my band. It means I am relying

on prize money to be able to make the money to pay the Devils. If

I finish low down then people are left waiting for their pay. People

see the Devils on the street and think it’s nice that we are keeping

up tradition, but they don’t see the big problems with funding.”

At least he sees an answer to the problems, one that may involve

taking matters into his own hands to ensure survival: “We need a

proper Traditional Committee within the NCC, with ideas to get

some of the big band funds to us for raw material. If I don’t see a

committee like that soon, I will form one, because the traditional

Mas keeps suffering.” He is adamant that if this is not done

“traditional Mas will die.” Surely, just as Paramin’s community

enticed a young Felicien to become involved in jab jab, the

future of the Devils must have a strong core of younger

revellers coming through the ranks to ensure some

continuity? “There are only one or two, but parents who play

pass on the tradition. It needs exposure.”

Attempts at greater coverage meant that the Devils made

their mark in J’Ouvert, which seems the right platform for

all things macabre within Carnival, with the bonus of

attracting paying revellers. However, Felician points to

an incident where a reveller was killed years ago, as a

deterrent, and forcing the rethink on the J’Ouvert

experiment. After all, as much there are other options

for the Blue Devils to perform their rhythmic,

threatening behaviour towards the public, their

priority remains the almost secluded ghoulish

ceremony on a Carnival Monday evening. The likes

of Mark Felicien may need outside help to ensure

that tradition survives, but is that survival

dependent upon maintaining the closed world

of the Paramin Blue Devils?

W M A S Q U A R T E R L Y - I S S U E 4

...but people forget that this kinda Mas,beating biscuit tin and using body paint,

is the whole base of Carnival...

Mark Felicien can be

reached at 764-5731

jab Jab20 21


ith their azure hue, the Paramin Blue Devils are certainly the most striking of the

traditional Carnival characters, and their behaviour distinguishes them as some of

the most energetic. Pitchforks, tails and bat wings transforms the performers into

‘jab jabs’, flicking their tongues and gesticulating with all the verve of seasoned

demons, allowed their time on the world stage once a year. It is the ultimate in

method acting for Carnival.

Mark Felicien has been involved with the premier Blue Devils band ‘Rhapsody in

Blue’ for 31 of his 46 years; Paramin-born and bred, he has the unique perspective

of where the jab jabs came from, what they represent, and what the future holds.

He also has clear ideas as to what changes are required to ensure the survival of

the Blue Devils. In his time, the Devils made forays into J’Ouvert and fetes, then

decided to retreat to the sanctuary that is home. He got involved in the Blue

Devils when he “saw older heads making costumes and taking part in the

Carnival Monday competition; I wanted to be part of that as it was a big part of

my Paramin upbringing. At 15 years old, I started playing.”

Mark then struck out on his own, forming Rhapsody, where, with the help of

his wife and son, he makes Blue Devil costumes for approximately 50

revellers each year. It is hard work, with little help from outside and little

exposure, given the relative remoteness of their biggest competition.

Remember that while the entire Carnival focus is on the larger cities,

Paramin is hosting its own Carnival competition in a highly specialised

genre. It is not a competition for traditional Carnival characters; it is an

exclusively Blue Devil competition. Can it survive like this? “Like

everything else in traditional Mas, there is more competition from

big bands, fetes springing up all over the place.” says Felician. “But

people forget that this kinda Mas — beating biscuit tin and using

body paint — is the whole base of Carnival. We have some

support, but not all the time. For instance, a few years ago we

received a stipend from NCC (National Carnival Commission),

which covered buying raw materials, but then the Board

changed and that stipend stopped. That situation would

work again, because the raw materials are very

expensive. We’re not looking for funds for other stuff, just the raw

materials. It put us in a position where we have to pay for it all

ourselves.” What about the private sector? “We tried that, but

there is not a lot of interest. A few years ago we used to get paid to

perform at fetes on Carnival Sunday, but then that stopped, too.”

He acknowledges, though, that there are still outlets provided by

the authorities for the necessary exposure for the Blue Devils.

“Other than Camboulay and the Carnival Friday, Traditional Mas in

Port of Spain, we now have the Nostalgia Parade and the Traditional

King & Queen events down in South Quay. For these events we get

some funds, but it is small.”

Felicien speaks of the unique situation and contradiction between

his band and the big Mas entities that appear to be gobbling up all

in their path. “People pay to play Mas with those big bands ... I

have to pay my revellers to play for my band. It means I am relying

on prize money to be able to make the money to pay the Devils. If

I finish low down then people are left waiting for their pay. People

see the Devils on the street and think it’s nice that we are keeping

up tradition, but they don’t see the big problems with funding.”

At least he sees an answer to the problems, one that may involve

taking matters into his own hands to ensure survival: “We need a

proper Traditional Committee within the NCC, with ideas to get

some of the big band funds to us for raw material. If I don’t see a

committee like that soon, I will form one, because the traditional

Mas keeps suffering.” He is adamant that if this is not done

“traditional Mas will die.” Surely, just as Paramin’s community

enticed a young Felicien to become involved in jab jab, the

future of the Devils must have a strong core of younger

revellers coming through the ranks to ensure some

continuity? “There are only one or two, but parents who play

pass on the tradition. It needs exposure.”

Attempts at greater coverage meant that the Devils made

their mark in J’Ouvert, which seems the right platform for

all things macabre within Carnival, with the bonus of

attracting paying revellers. However, Felician points to

an incident where a reveller was killed years ago, as a

deterrent, and forcing the rethink on the J’Ouvert

experiment. After all, as much there are other options

for the Blue Devils to perform their rhythmic,

threatening behaviour towards the public, their

priority remains the almost secluded ghoulish

ceremony on a Carnival Monday evening. The likes

of Mark Felicien may need outside help to ensure

that tradition survives, but is that survival

dependent upon maintaining the closed world

of the Paramin Blue Devils?

W M A S Q U A R T E R L Y - I S S U E 4

...but people forget that this kinda Mas,beating biscuit tin and using body paint,

is the whole base of Carnival...

Mark Felicien can be

reached at 764-5731

M

23

ost, if not all masqueraders enjoy the choice of

having food available to them on those two

infamous days of Carnival Monday and Tuesday.

However, for the few that may ‘stray’ away from their

band, and for the spectators alike, one must source their

meals for the day.

There are countless vendors lining the streets of

Port-of-Spain, and any junction really, where there are any

Carnival festivities. Here is a checklist of things to look out

for when purchasing any food or drink items during the

Carnival season.

1. Food badges. No food badge? Chances are the vendor

who is not properly displaying his or her food badge wasn’t

issued one by the public health department. This means they

did not qualify... still want to eat there?

2. Appearance. Is the vendor properly attired? We mean

aprons, hair nets, gloves. No glove, no love... or food.

3. Alcohol licence. A vendor must be issued an alcohol

license in order to sell any alcoholic drink.

4. Corn soup sounds mouth-watering on Monday and

Tuesday and it’s the perfect pick-me-up for the long days and

sun-burnt bodies. How is your corn soup sold? Ensure the

cooking pots are properly sealed and that your soup is poured

for you upon purchase. Pre-packaged corn soup? We don’t

think so...

5. Hot dogs, cheap street food, easy to eat and mobile. Look

out for dust, flies or touchy fingers on your condiments. Ensure

all serving utensils are covered and kept clean before purchasing.

6. Doubles. Delicious doubles. You have been up at 3:00 A.M.

to prepare for your day. So have they. Be careful with eating

this well loved street food on evenings or late at night.

Everyone has their favourite person or ‘spot,’ but be wary on

Carnival Monday and Tuesday with your choice of food and drink.


24


with

Two months and dozens of fetes. We couldn’t possibly cover these events on our

own (even though some of our staff tried)... So we teamed up with our friends at

Lime.tt to bring you a taste of the excitement that is T&T Carnival 2014. Real Vibes!

Karambouly All Inclusive - Feel De PassionPhotography by J.R & Reneeta Seepersad

Yorke All Inclusive – Rio FiestaPhotography by Nicholas Baggy & Ryan Girdharry

25

Fuad Khan & Friends All InclusivePhotography by Shiva Gobin

24


with

Two months and dozens of fetes. We couldn’t possibly cover these events on our

own (even though some of our staff tried)... So we teamed up with our friends at

Lime.tt to bring you a taste of the excitement that is T&T Carnival 2014. Real Vibes!

Karambouly All Inclusive - Feel De PassionPhotography by J.R & Reneeta Seepersad

Yorke All Inclusive – Rio FiestaPhotography by Nicholas Baggy & Ryan Girdharry

25

Fuad Khan & Friends All InclusivePhotography by Shiva Gobin


Fete with the SaintsPhotography by Nicholas H. Khan

UWI All Inclusive 2014 – BrasilPhotography by Sabrina Sookdeo - Khillawan 27

Tobago Love the ExperiencePhotography by Vunrick Lyons

26

with

Chutney Soca Monarch Semi-FinalsPhotography by Nicholas Baggy & Ryan Girdharry


Fete with the SaintsPhotography by Nicholas H. Khan

UWI All Inclusive 2014 – BrasilPhotography by Sabrina Sookdeo - Khillawan 27

Tobago Love the ExperiencePhotography by Vunrick Lyons

26

with

Chutney Soca Monarch Semi-FinalsPhotography by Nicholas Baggy & Ryan Girdharry


Soca In Moka XVPhotography by Ryan Girdharry & Nicholas Baggy

ONE FetePhotography by Natalie Ali & James Bascombe Jr.

2928

with

Central Bank All-InclusivePhotography by GK

QRC All Inclusive - Fete RoyalPhotography by Nicholas Baggy & Shiva Gobin


Soca In Moka XVPhotography by Ryan Girdharry & Nicholas Baggy

ONE FetePhotography by Natalie Ali & James Bascombe Jr.

2928

with

Central Bank All-InclusivePhotography by GK

QRC All Inclusive - Fete RoyalPhotography by Nicholas Baggy & Shiva Gobin

30 31


“Carnival and Mas are not something

that you should get involved in

because you want to make money.

Yes, it is a business, but it is important

to know the history of Carnival. That it

emanated out of suffering, out of

slavery. Therefore, its portrayals

should be memorable and pleasurable

to both onlookers and masqueraders.”

Mr. Reynald retired from the Fire

Service after 30 years as a fire officer.

But even while he was there, he took

time to work with the Fire Services

children's band. “In the 1980s the

band won Band of the Year titles in

South and in Port of Spain.” Shortly

after his retirement from the Fire Service,

where he also served as General Secretary

of the Fire Service Association and the Fire

Service Sports Club, Mr. Reynald says he

founded the Belmont Original Stylish

Sailors (the Boss), a band which he says

has been around for approximately 16

years and which has won the Small Band

title 13 times.

“Originally, I used to play with Jason

Griffith, who had a sailor band in

Belmont. Many of my friends also

played with his band, until we

eventually got together and decided

we had the ability to bring our own

band. He portrayed old-fashioned

sailors. We decided that the Boss

should be more contemporary, so we

added more colour and style.

With a modern twist and under

Mr. Reynald's shrewd administrative

watch, the Boss blossomed on the

streets of Port of Spain. So much so

that many of the masqueraders from

the old-time sailors band gravitated to

the new band.

“And we are still going strong,”

Mr. Reynald beamed; adding that the

only reason the band never exceeds

150 masqueraders is because its

officials never want to step out of the

Small Band category.

Now, many years later, there seems to

be no stopping Mr. Reynald. This year

he has decided to blend his executive

prowess with his creativity.

“I am now in the process of bringing

my first J'Ouvert band. It is called a

Fanfare to the Sports Men and Women

of Trinidad and Tobago. I designed my

own costumes because I know the

message I want to send.”

But why a tribute to sports men and

women? “I was involved in sports for

many years. Hockey, cricket, football,

you name it. I want to pay tribute in

Mas to these men and women, past

and present, some of whom I have

associated with.”

Among those who will be honored by

the band are cricketers Brian Charles

Lara, footballer Gerry Brown, sprinter

Ato Boldon, swimmer George Bovell

and javelin thrower Keshorn Walcott.

“The costume will be a jersey and a fan

with a print of the face of a sports man

or woman at the front.” At the time of

this interview, Mr. Reynald said that 170

masqueraders had registered to play

with the band. “The fee is just $100,

and that includes costumes and music.”

So will this transition into Mas-making

for J'Ouvert spill out into the streets

on Carnival Monday and Tuesday?

“Monday Night Mas is out of the

question for now because of the crime

situation. I have a portrayal in mind

for next year; but it will still be limited

to J'Ouvert for now. But we will see.”

And although he feels that Carnival

and Mas have become too

commercialized, he remains practical.

“At the end of the day, it is a

business,” he says, and advises young

people to grasp the opportunities the

season brings.

“Some people turn their homes into

guest houses, some people renovate

their restaurants, there are lots of

investments in Carnival. Select an area

which you feel passionate about and

make it attractive to your customers.”

“An administrative officer plays a vital

part in the administration and smooth

running of any business, in any industry.

In my capacity as General Secretary, one

of my key functions was to keep the

communication lines between members

open. Even after I gave up those duties

I remained a member of the NCFD.”

But Mr. Reynald's competence in

Mas-related matters did not come about

by chance. His love for the culture,

coupled with years of administrative

experience, are what gives him the

authority he exudes as a consultant.

he name Peter Reynald is well known among members of the Mas fraternity. For although he has never been involved in the physical aspect of Mas making, at least not until this year, his contributions to the art form at the administrative level have been nothing short of tremendous. In fact, his expertise in the area of making a success of Mas has earned him the role of consultant to the National Carnival Development Foundation (NCDF), an organization in which he was a founding member and served as General Secretary for four years.

By C

arol

Qua

shPeter REYNaLDMr. Reynald says he founded the Bel

mont Original Stylish Sailors

(the Boss), a band which he says has been around for

approximately 16 years and which has won the

Small Band title 13 times.

30 31


“Carnival and Mas are not something

that you should get involved in

because you want to make money.

Yes, it is a business, but it is important

to know the history of Carnival. That it

emanated out of suffering, out of

slavery. Therefore, its portrayals

should be memorable and pleasurable

to both onlookers and masqueraders.”

Mr. Reynald retired from the Fire

Service after 30 years as a fire officer.

But even while he was there, he took

time to work with the Fire Services

children's band. “In the 1980s the

band won Band of the Year titles in

South and in Port of Spain.” Shortly

after his retirement from the Fire Service,

where he also served as General Secretary

of the Fire Service Association and the Fire

Service Sports Club, Mr. Reynald says he

founded the Belmont Original Stylish

Sailors (the Boss), a band which he says

has been around for approximately 16

years and which has won the Small Band

title 13 times.

“Originally, I used to play with Jason

Griffith, who had a sailor band in

Belmont. Many of my friends also

played with his band, until we

eventually got together and decided

we had the ability to bring our own

band. He portrayed old-fashioned

sailors. We decided that the Boss

should be more contemporary, so we

added more colour and style.

With a modern twist and under

Mr. Reynald's shrewd administrative

watch, the Boss blossomed on the

streets of Port of Spain. So much so

that many of the masqueraders from

the old-time sailors band gravitated to

the new band.

“And we are still going strong,”

Mr. Reynald beamed; adding that the

only reason the band never exceeds

150 masqueraders is because its

officials never want to step out of the

Small Band category.

Now, many years later, there seems to

be no stopping Mr. Reynald. This year

he has decided to blend his executive

prowess with his creativity.

“I am now in the process of bringing

my first J'Ouvert band. It is called a

Fanfare to the Sports Men and Women

of Trinidad and Tobago. I designed my

own costumes because I know the

message I want to send.”

But why a tribute to sports men and

women? “I was involved in sports for

many years. Hockey, cricket, football,

you name it. I want to pay tribute in

Mas to these men and women, past

and present, some of whom I have

associated with.”

Among those who will be honored by

the band are cricketers Brian Charles

Lara, footballer Gerry Brown, sprinter

Ato Boldon, swimmer George Bovell

and javelin thrower Keshorn Walcott.

“The costume will be a jersey and a fan

with a print of the face of a sports man

or woman at the front.” At the time of

this interview, Mr. Reynald said that 170

masqueraders had registered to play

with the band. “The fee is just $100,

and that includes costumes and music.”

So will this transition into Mas-making

for J'Ouvert spill out into the streets

on Carnival Monday and Tuesday?

“Monday Night Mas is out of the

question for now because of the crime

situation. I have a portrayal in mind

for next year; but it will still be limited

to J'Ouvert for now. But we will see.”

And although he feels that Carnival

and Mas have become too

commercialized, he remains practical.

“At the end of the day, it is a

business,” he says, and advises young

people to grasp the opportunities the

season brings.

“Some people turn their homes into

guest houses, some people renovate

their restaurants, there are lots of

investments in Carnival. Select an area

which you feel passionate about and

make it attractive to your customers.”

“An administrative officer plays a vital

part in the administration and smooth

running of any business, in any industry.

In my capacity as General Secretary, one

of my key functions was to keep the

communication lines between members

open. Even after I gave up those duties

I remained a member of the NCFD.”

But Mr. Reynald's competence in

Mas-related matters did not come about

by chance. His love for the culture,

coupled with years of administrative

experience, are what gives him the

authority he exudes as a consultant.

he name Peter Reynald is well known among members of the Mas fraternity. For although he has never been involved in the physical aspect of Mas making, at least not until this year, his contributions to the art form at the administrative level have been nothing short of tremendous. In fact, his expertise in the area of making a success of Mas has earned him the role of consultant to the National Carnival Development Foundation (NCDF), an organization in which he was a founding member and served as General Secretary for four years.

By C

arol

Qua

shPeter REYNaLDMr. Reynald says he founded the Bel

mont Original Stylish Sailors

(the Boss), a band which he says has been around for

approximately 16 years and which has won the

Small Band title 13 times.

32 33


Bandleader, Mas player, designer,

multiple National King finalist and

semi-finalist and Chairman of the

Tunapuna Mas People’s Association

(TMPA), Balnarine Bennie, is hard at

work on Shipwreck, his presentation

for 2014 in the Tunapuna/Piarco

Region. With three sections, two

designed and assembled by him,

and one by a friend, Mr. Bennie says

this is the first time in many years

his band will not be leaving the

region to parade on the streets of

Port of Spain.

Meanwhile, in rural Biche, things are not

much different. Mas makers are busy

preparing for their community's parade

of the bands. Eida Abdool-Khan is not a

name the average person will associate

with Carnival and Mas. But although she

admits her involvement in the art form

did raise some religious eyebrows at the

start of her Mas-making endeavor, the

Biche resident and bandleader is a

die-hard Mas woman. She has been

bringing Mas to the rural village since

2000, and has been participating in the

street parade long before that.

BICHETUNAPUNA

ExploreCountry

&the

Throughout

MasWe

By Carol Quash

32 33


Bandleader, Mas player, designer,

multiple National King finalist and

semi-finalist and Chairman of the

Tunapuna Mas People’s Association

(TMPA), Balnarine Bennie, is hard at

work on Shipwreck, his presentation

for 2014 in the Tunapuna/Piarco

Region. With three sections, two

designed and assembled by him,

and one by a friend, Mr. Bennie says

this is the first time in many years

his band will not be leaving the

region to parade on the streets of

Port of Spain.

Meanwhile, in rural Biche, things are not

much different. Mas makers are busy

preparing for their community's parade

of the bands. Eida Abdool-Khan is not a

name the average person will associate

with Carnival and Mas. But although she

admits her involvement in the art form

did raise some religious eyebrows at the

start of her Mas-making endeavor, the

Biche resident and bandleader is a

die-hard Mas woman. She has been

bringing Mas to the rural village since

2000, and has been participating in the

street parade long before that.

BICHETUNAPUNA

ExploreCountry

&the

Throughout

MasWe

By Carol Quash

34 35


Mr. Bennie, who has dedicated 44 years of his life to culture,

especially Carnival, usually takes his band to parade in the

capital city, and returns to his hometown and parades in his

King costume late on Carnival Tuesday evening. This year,

however, he says Port of Spain will take a back seat. But, he

quickly adds, he and his King costume will not be deprived

of their annual trek across the Savannah stage on the

Thursday before Carnival at the King and Queen of the

Bands competitions.

“That has to be one of the most amazing feelings and sights

ever. I have been doing this for so many years and I am still

moved every time I do it,” he admits. He says he always gets

there well in advance of showtime to assemble his costume.

“You can't leave anything to chance. You have to take a number

of things into consideration. Wind and things like that.”

So what prompted the multiple Mas title holder to make

such a drastic move for C2K14? Bennie's answer is simple

and to the point: “To transform Mas in Tunapuna.” The

veteran Mas man's love for everything Mas is evidenced by

the passion with which he articulates his strategy to

accomplish his mission. In the chaotic comfort of his Maingot

Road, Tunapuna Mas camp, Mr. Bennie ushers Mas Quarterly

to a seat that is clear of material, glue and glitter, and

outlines the steps he and his committee are taking to revive

the art form in the constituency.

“Tunapuna has the best J'Ouvert in the country, you know,”

he says with confidence. “Do you know why? Because of the

cross-section of people and the balance and dynamics of the

ethnic makeup. “After J'Ouvert, Tunapuna is usually dead.

People go home and return later in the evening. After that,

Monday and Tuesday is usually just a street party. The TMPA

wants to change that. This year it will be different. Our

celebration will stretch from Dinsley Junction, along the

Eastern Main Road to Curepe, ” he assures.

Members of the one-year-old TMPA, he says, have met with

various stakeholders and have submitted a number of

proposals that they envision will bring Mas back to its glory

days in the region. The organization has drafted a 16-point

plan that sums up the changes it would like to see. Among

them are recommendations regarding the parade route, parade

times, judges, safety of masqueraders and spectators and

transparency in the band registration and judging processes.

Mr. Bennie says the organization intends to run the full

gamut – Kiddies Carnival, J'Ouvert, Monday and Tuesday

parade of the bands with Kings, Queens and individuals,

with monetary prizes and trophies for all winners.

“Bringing out a band costs money. It’s easier for me because

I do everything; design, assemble, you name it. Other

bandleaders aren't so lucky.” He adds, “On Tuesday we want

the street to come alive with between 17 and 27 bands

parading in full, bright colour. Also, we hope to host a Senior

King and Queen show before the Carnival days.”

So how does the group propose to fund these ventures?

“Well, we are a Non-Governmental Organization, so our

funding has to come mainly from sponsors. The Regional

Corporation will help with things such as stages, transport,

manual facilities, that sort of thing. We have reached an

agreement with the Tunapuna Carnival Committee to

accommodate the smooth running of our parades, but we

still have to source funding.”

He says in addition to the Dinsley Business People’s

Association (DBPA) and individuals who have made

monetary contributions, other organizations such as the

Curepe Gateway Possi and Gayelle have pledged their

support. “We have divided the region into segments, and

each segment will be responsible for selecting its own

judging points and sourcing prizes. The DBPA will handle

Dinsley up to the Tacarigua bridge, the TMPA will handle

Tunapuna, and the Curepe Gateway Possi will take care of its

area. Gayelle will be airing our parades live on TV.”

And what do residents in the constituency think of the

venture? “Right now it is the talk of the town. People come

up to me and ask, 'You hear we having Carnival from Dinsley

to Curepe this year? I hear we having plenty bands.' I just

smile and ask 'Is so?'” Mr. Bennie chuckles.

es, I am a Muslim,” she says with a chuckle. “And I did run

into some problems at the beginning when I first started

bringing out a band, because traditionally, Muslims are not

supposed to take part in Carnival events. But I do it

tastefully. My costumes are not revealing. If we wear tights,

there is a skirt over it. Even if we do bras we use things like

chiffon to cover up,” she explains.

Mrs. Abdool-Khan caters to the needs of conventional

masqueraders. “The Kiddies Carnival competition is held on

the Sunday before Carnival, as well as the Kings and Queens

junior and senior competitions. On three occasions my band

won the junior and senior Queens.”

And just as in other parts of the country, J'Ouvert

celebrations are a must in Biche. “People come out in their

numbers for J'Ouvert. After this, nothing happens until later

in the evening.

“At Monday night Mas we use flambeaux, fire spitters and

moko jumbies. Usually my masqueraders would wear the

same colour jersey and black pants. Some people wear

things like pirate costumes. It’s a different kind of costuming

altogether.” She adds with a smile, “My band always wins

the Monday night Mas competition.”

On Carnival Tuesday, Mrs. Abdool-Khan says there are

usually six bands in the competition. “On average, my band

has about 50 to 60 players, with each masquerader paying

about $200 for a costume. I don't charge a fee for Kiddies

Carnival or Monday night Mas. Usually, anyone who plays

with me on Monday night will play on Tuesday as well.”

How does she meet her expenditure with such a small

amount of revenue? “We don't have the funding, but every

year I get banners from Coca Cola and Samaroo’s. Blue

Mountain would sponsor some water and shopkeepers in the

area would sponsor things like Kiss cakes for the 25 to 30

children in the kiddies’ parade. Sometimes a resident would

make some dhalpourie and another would do the curry.”

In terms of getting material and labor for costumes, she says

that, too, comes from the goodness of people's heart and the

love for the culture.

“Everybody helps make costumes. Family, friends. The

designs and colours are not my idea alone. We all pool ideas.

And when we go to buy material at Samaroo’s, we ask for

discounts. Music is on a voluntary basis, too.

Different people assist us every year. I am grateful for the

help, but it is still difficult to fund whatever else is needed

from my own pockets. We would love to come out with a big

truck on the road, but we just can't right now.”

Like any other bandleader, Mrs. Abdool-Khan knows about

working round the clock to bring out a band on time. “We

usually start to prepare about two months before and work

as hard as we have to to ensure everything runs smoothly.”

This year, however, she is not sure if it will happen. “The

name of this year's presentation is Eida and Friends, but I'm

not sure if I'll be on the road this year. My mom was sick and

in hospital and that threw us back a bit. I know it’s late. And

even if we do decide to go on with it, I know the costume

can be done in as little as three days’ time, if we work round

the clock. I once brought out a band in a week, you know,”

she beams.

But come what may, Abdool-Khan says Carnival and Mas in

Biche will go on. “We just about bigging up Biche and our

culture and having a good time, money or no money.”

Everybody helps make costumes. Family, friends.The designs and colours are not my idea alone

We all pool ideas...Mr. Bennie can be contacted at 765-0924 Eida Abdool-Khan can be reached at 336-4511 or 359-0378

34 35


Mr. Bennie, who has dedicated 44 years of his life to culture,

especially Carnival, usually takes his band to parade in the

capital city, and returns to his hometown and parades in his

King costume late on Carnival Tuesday evening. This year,

however, he says Port of Spain will take a back seat. But, he

quickly adds, he and his King costume will not be deprived

of their annual trek across the Savannah stage on the

Thursday before Carnival at the King and Queen of the

Bands competitions.

“That has to be one of the most amazing feelings and sights

ever. I have been doing this for so many years and I am still

moved every time I do it,” he admits. He says he always gets

there well in advance of showtime to assemble his costume.

“You can't leave anything to chance. You have to take a number

of things into consideration. Wind and things like that.”

So what prompted the multiple Mas title holder to make

such a drastic move for C2K14? Bennie's answer is simple

and to the point: “To transform Mas in Tunapuna.” The

veteran Mas man's love for everything Mas is evidenced by

the passion with which he articulates his strategy to

accomplish his mission. In the chaotic comfort of his Maingot

Road, Tunapuna Mas camp, Mr. Bennie ushers Mas Quarterly

to a seat that is clear of material, glue and glitter, and

outlines the steps he and his committee are taking to revive

the art form in the constituency.

“Tunapuna has the best J'Ouvert in the country, you know,”

he says with confidence. “Do you know why? Because of the

cross-section of people and the balance and dynamics of the

ethnic makeup. “After J'Ouvert, Tunapuna is usually dead.

People go home and return later in the evening. After that,

Monday and Tuesday is usually just a street party. The TMPA

wants to change that. This year it will be different. Our

celebration will stretch from Dinsley Junction, along the

Eastern Main Road to Curepe, ” he assures.

Members of the one-year-old TMPA, he says, have met with

various stakeholders and have submitted a number of

proposals that they envision will bring Mas back to its glory

days in the region. The organization has drafted a 16-point

plan that sums up the changes it would like to see. Among

them are recommendations regarding the parade route, parade

times, judges, safety of masqueraders and spectators and

transparency in the band registration and judging processes.

Mr. Bennie says the organization intends to run the full

gamut – Kiddies Carnival, J'Ouvert, Monday and Tuesday

parade of the bands with Kings, Queens and individuals,

with monetary prizes and trophies for all winners.

“Bringing out a band costs money. It’s easier for me because

I do everything; design, assemble, you name it. Other

bandleaders aren't so lucky.” He adds, “On Tuesday we want

the street to come alive with between 17 and 27 bands

parading in full, bright colour. Also, we hope to host a Senior

King and Queen show before the Carnival days.”

So how does the group propose to fund these ventures?

“Well, we are a Non-Governmental Organization, so our

funding has to come mainly from sponsors. The Regional

Corporation will help with things such as stages, transport,

manual facilities, that sort of thing. We have reached an

agreement with the Tunapuna Carnival Committee to

accommodate the smooth running of our parades, but we

still have to source funding.”

He says in addition to the Dinsley Business People’s

Association (DBPA) and individuals who have made

monetary contributions, other organizations such as the

Curepe Gateway Possi and Gayelle have pledged their

support. “We have divided the region into segments, and

each segment will be responsible for selecting its own

judging points and sourcing prizes. The DBPA will handle

Dinsley up to the Tacarigua bridge, the TMPA will handle

Tunapuna, and the Curepe Gateway Possi will take care of its

area. Gayelle will be airing our parades live on TV.”

And what do residents in the constituency think of the

venture? “Right now it is the talk of the town. People come

up to me and ask, 'You hear we having Carnival from Dinsley

to Curepe this year? I hear we having plenty bands.' I just

smile and ask 'Is so?'” Mr. Bennie chuckles.

es, I am a Muslim,” she says with a chuckle. “And I did run

into some problems at the beginning when I first started

bringing out a band, because traditionally, Muslims are not

supposed to take part in Carnival events. But I do it

tastefully. My costumes are not revealing. If we wear tights,

there is a skirt over it. Even if we do bras we use things like

chiffon to cover up,” she explains.

Mrs. Abdool-Khan caters to the needs of conventional

masqueraders. “The Kiddies Carnival competition is held on

the Sunday before Carnival, as well as the Kings and Queens

junior and senior competitions. On three occasions my band

won the junior and senior Queens.”

And just as in other parts of the country, J'Ouvert

celebrations are a must in Biche. “People come out in their

numbers for J'Ouvert. After this, nothing happens until later

in the evening.

“At Monday night Mas we use flambeaux, fire spitters and

moko jumbies. Usually my masqueraders would wear the

same colour jersey and black pants. Some people wear

things like pirate costumes. It’s a different kind of costuming

altogether.” She adds with a smile, “My band always wins

the Monday night Mas competition.”

On Carnival Tuesday, Mrs. Abdool-Khan says there are

usually six bands in the competition. “On average, my band

has about 50 to 60 players, with each masquerader paying

about $200 for a costume. I don't charge a fee for Kiddies

Carnival or Monday night Mas. Usually, anyone who plays

with me on Monday night will play on Tuesday as well.”

How does she meet her expenditure with such a small

amount of revenue? “We don't have the funding, but every

year I get banners from Coca Cola and Samaroo’s. Blue

Mountain would sponsor some water and shopkeepers in the

area would sponsor things like Kiss cakes for the 25 to 30

children in the kiddies’ parade. Sometimes a resident would

make some dhalpourie and another would do the curry.”

In terms of getting material and labor for costumes, she says

that, too, comes from the goodness of people's heart and the

love for the culture.

“Everybody helps make costumes. Family, friends. The

designs and colours are not my idea alone. We all pool ideas.

And when we go to buy material at Samaroo’s, we ask for

discounts. Music is on a voluntary basis, too.

Different people assist us every year. I am grateful for the

help, but it is still difficult to fund whatever else is needed

from my own pockets. We would love to come out with a big

truck on the road, but we just can't right now.”

Like any other bandleader, Mrs. Abdool-Khan knows about

working round the clock to bring out a band on time. “We

usually start to prepare about two months before and work

as hard as we have to to ensure everything runs smoothly.”

This year, however, she is not sure if it will happen. “The

name of this year's presentation is Eida and Friends, but I'm

not sure if I'll be on the road this year. My mom was sick and

in hospital and that threw us back a bit. I know it’s late. And

even if we do decide to go on with it, I know the costume

can be done in as little as three days’ time, if we work round

the clock. I once brought out a band in a week, you know,”

she beams.

But come what may, Abdool-Khan says Carnival and Mas in

Biche will go on. “We just about bigging up Biche and our

culture and having a good time, money or no money.”

Everybody helps make costumes. Family, friends.The designs and colours are not my idea alone

We all pool ideas...Mr. Bennie can be contacted at 765-0924 Eida Abdool-Khan can be reached at 336-4511 or 359-0378

36 37


Mas involves the conceptualization, planning

and creation of products and services to meet

specific objectives, which must be completed

within a specific timeframe. It accomplishes this

by incorporating the skills and services of

varied personnel and groups for the duration of

activities until completion. If we consider the

definition of a “project” as provided by the

Project Management Institute® (PMI), It’s a

temporary group activity designed to produce a

unique product, service or result. A project is

temporary in that it has a defined beginning and

end in time, and therefore defined scope and

resources. A project is unique in that it is not a

routine operation, but a specific set of

operations designed to accomplish a singular

goal. So, a project team often includes people

who don’t usually work together – sometimes

from different organizations and across

multiple geographies (PMBOK 5th edition), we

can see immediately that creating Mas,

or Mas production, is a project.

?By Mushtaq Sookoor

aving established that the presentation of Mas is a

project, can we then use tried and proven project

management techniques to effectively manage Mas? In

his presentation at Project Management Institute, Southern

Caribbean Chapter’s® Technical Session, December 2013, Mr.

Mahindra Satram-Maharaj, Chairman of the National Carnival

Development Foundation (NCDF), questioned the relevance and

role of Project Management in managing Mas. He noted the

ignorance of those in the business of producing Mas on the project

approach and what constitutes project management. In his words,

“Is project management only about a Gantt chart?”

Of course, all of this was meant to highlight the general lack of

awareness by people in the Mas community of the emerging role,

project management and the PMISCC can play in working with local

culture and Mas in particular. In this article, therefore, I will give an

overview of the processes and knowledge areas advocated by the

PMI. I will also give insights into the traditional areas of project

management involvement and look to see how they can be used to

effectively manage Mas.

Project Management is basically the application of knowledge,

skills and tools to effectively manage projects. The structured

approach facilitates the framework for optimizing time, resources,

cost and quality. In this way, project teams of Mas bands have a

clear understanding of what is required, how they will go about

producing it, and how it will be monitored and controlled from

initiation to planning through execution to close out. It therefore

enables the alignment of project results or Mas band’s successes to

business goals and objectives.

CanWe

ManageMas

36 37


Mas involves the conceptualization, planning

and creation of products and services to meet

specific objectives, which must be completed

within a specific timeframe. It accomplishes this

by incorporating the skills and services of

varied personnel and groups for the duration of

activities until completion. If we consider the

definition of a “project” as provided by the

Project Management Institute® (PMI), It’s a

temporary group activity designed to produce a

unique product, service or result. A project is

temporary in that it has a defined beginning and

end in time, and therefore defined scope and

resources. A project is unique in that it is not a

routine operation, but a specific set of

operations designed to accomplish a singular

goal. So, a project team often includes people

who don’t usually work together – sometimes

from different organizations and across

multiple geographies (PMBOK 5th edition), we

can see immediately that creating Mas,

or Mas production, is a project.

?By Mushtaq Sookoor

aving established that the presentation of Mas is a

project, can we then use tried and proven project

management techniques to effectively manage Mas? In

his presentation at Project Management Institute, Southern

Caribbean Chapter’s® Technical Session, December 2013, Mr.

Mahindra Satram-Maharaj, Chairman of the National Carnival

Development Foundation (NCDF), questioned the relevance and

role of Project Management in managing Mas. He noted the

ignorance of those in the business of producing Mas on the project

approach and what constitutes project management. In his words,

“Is project management only about a Gantt chart?”

Of course, all of this was meant to highlight the general lack of

awareness by people in the Mas community of the emerging role,

project management and the PMISCC can play in working with local

culture and Mas in particular. In this article, therefore, I will give an

overview of the processes and knowledge areas advocated by the

PMI. I will also give insights into the traditional areas of project

management involvement and look to see how they can be used to

effectively manage Mas.

Project Management is basically the application of knowledge,

skills and tools to effectively manage projects. The structured

approach facilitates the framework for optimizing time, resources,

cost and quality. In this way, project teams of Mas bands have a

clear understanding of what is required, how they will go about

producing it, and how it will be monitored and controlled from

initiation to planning through execution to close out. It therefore

enables the alignment of project results or Mas band’s successes to

business goals and objectives.

CanWe

ManageMas

38 39


profit from their work. This he attributed solely to the

inability of the producers to effectively and efficiently

manage their “project” as a business.

Before we go any further, what about the 3% that do make a

profit? To what extent do they employ project management

tools and techniques to their project? Is this the main

contributor to their success? Mr. Maharaj explains that this

3%, while not formalizing the processes, have undoubtedly

embraced project management principles, including

state-of-the-art management information systems in the way

they manage their band production.

The scope of work required is broken out with teams and

committees set up to handle individual segments. This is

what is referred to as a Work Breakdown Structure or WBS in

project management. The way that things like procurement,

HR and risks are managed are other examples of “big bands”

adopting project principles. Quoted in Mas Quarterly, the

directors of Hart’s, Gerald and Luis Hart disclosed that it’s no

secret: “It’s simply about good management and maintaining

the band’s core principles, while embracing the changes

brought on by evolution and technology. ”

Applying project management principles undoubtedly

increases the chance of project success. But how is project

success defined? Typically, project success is defined as

delivering the project on time and within budget. However, it

is incumbent on project teams within the Mas bands to

define the specific set of criteria that will constitute success

for the particular project.

More and more, client or stakeholder satisfaction is

becoming the number one measure for project success. Who

are the biggest stakeholders in a Mas band? The

masqueraders! This is endorsed by Dean Akin, founder of

Carnival band Tribe. “We quickly realized that there was a

big void in the market for great service in Carnival; that’s

something that was missing and wasn’t there before, where

the bands pay attention to the masquerader as a customer -

their needs and wants dealt with at an international level.”

Another relatively new success indicator is the impact of

project activities on health, safety and the environment. The

introduction of security and First Aid stations in Mas bands

has added meaningful attractions to new clients, and the

level of satisfaction they received from this will be a

deciding factor in which band they play with next year.

The next step is to look at how Mas band leaders can

incorporate project principles into their efforts. It is not

enough for band leaders/producers to understand project

principles; they must have the competencies to apply them.

Producers/Mas band leaders must formalize project teams

with dedicated project managers to develop the project

infrastructure and utilize project tools and techniques.

Project managers will work with team members and subject

matter experts to develop project plans, templates, control

documents and other process assets that will be used to

manage band production more effectively. The outputs

derived from the project processes will also provide a

platform for finding out what works and what doesn’t. In this

way, plans can be refined and modified for use on next

year’s project.

This approach will also assist in the bands’ ability to secure

funding from banks and government agencies by giving

them the confidence that business objectives are aligned to

project deliverables. Band leaders and government agencies

dealing with Mas and Carnival productions would do well to

partner with the PMISCC. This partnering can create the

platform for sustainable project development within the

Carnival industry by working with and guiding stakeholders

on the project management approach.

Project Management has always been practiced informally,

but emerged as a profession in the mid-Twentieth Century. It

has been developed mainly from its use in the construction,

engineering, telecommunications/IT and defence industries.

However, in recent times, project management is being

applied to any type of endeavour that meets the criteria for

labelling it a project. This may be the development of a new

product or service or the implementation of a new

computerised system for managing client information. It may

even be the production of a Mas band for Carnival anywhere

in the world, including Trinidad and Tobago, and even in the

remote village of L’Anse Fourmi, Tobago! In fact, its

application can be found in any endeavour that is faced with

complex processes, cross-functional expertise, tight budgets

and timeframes.

Mr. Satram-Maharaj noted that only three percent of the Mas

bands involved in Trinidad and Tobago Carnival are able to

Just to give an idea of the usage, we provide some of the more familiar process outputs and

their relationship to the process group and knowledge area.

The processes aligned to these groups emanate from the ten

knowledge areas:

• Integration - Pulling together of updated information from all the

other knowledge areas

• Scope - All the work activities associated with full presentation of

the band at Carnival

• Time - Scheduling a timeframe and for all activities of the band

• Cost - Accurate pricing of the material and labour to form the band

• Quality - Producing a high and acceptable standard of work

• Human Resource - A group or person to organize and manage the band

• Communication - Establishing a way to reach band members and

all personnel associated with the band for Carnival through

phones, flyers, banners, P.A. (public address) systems, etc.

• Risk - In the event there is a loss, damage or injury, a plan is in place

• Procurement - the process of getting goods and services in an

organized manner

• Stakeholder Management - An organized group providing input

and contributing together towards the management of the band.

All projects, being unique and temporary in nature, will have

specific objectives with a start and finish date. There are five

process groups which govern the flow of information and

activities across the life cycle of the project. These are

• Initiating -

to introduce, start, begin or accept

• Planning -

to make a plan, propose, schedule or program

• Executing -

to perform, put in effect or carry out plans

• Monitoring -

to keep track of information in a systematic manner

• Closing -

to finish or complete

38 39


profit from their work. This he attributed solely to the

inability of the producers to effectively and efficiently

manage their “project” as a business.

Before we go any further, what about the 3% that do make a

profit? To what extent do they employ project management

tools and techniques to their project? Is this the main

contributor to their success? Mr. Maharaj explains that this

3%, while not formalizing the processes, have undoubtedly

embraced project management principles, including

state-of-the-art management information systems in the way

they manage their band production.

The scope of work required is broken out with teams and

committees set up to handle individual segments. This is

what is referred to as a Work Breakdown Structure or WBS in

project management. The way that things like procurement,

HR and risks are managed are other examples of “big bands”

adopting project principles. Quoted in Mas Quarterly, the

directors of Hart’s, Gerald and Luis Hart disclosed that it’s no

secret: “It’s simply about good management and maintaining

the band’s core principles, while embracing the changes

brought on by evolution and technology. ”

Applying project management principles undoubtedly

increases the chance of project success. But how is project

success defined? Typically, project success is defined as

delivering the project on time and within budget. However, it

is incumbent on project teams within the Mas bands to

define the specific set of criteria that will constitute success

for the particular project.

More and more, client or stakeholder satisfaction is

becoming the number one measure for project success. Who

are the biggest stakeholders in a Mas band? The

masqueraders! This is endorsed by Dean Akin, founder of

Carnival band Tribe. “We quickly realized that there was a

big void in the market for great service in Carnival; that’s

something that was missing and wasn’t there before, where

the bands pay attention to the masquerader as a customer -

their needs and wants dealt with at an international level.”

Another relatively new success indicator is the impact of

project activities on health, safety and the environment. The

introduction of security and First Aid stations in Mas bands

has added meaningful attractions to new clients, and the

level of satisfaction they received from this will be a

deciding factor in which band they play with next year.

The next step is to look at how Mas band leaders can

incorporate project principles into their efforts. It is not

enough for band leaders/producers to understand project

principles; they must have the competencies to apply them.

Producers/Mas band leaders must formalize project teams

with dedicated project managers to develop the project

infrastructure and utilize project tools and techniques.

Project managers will work with team members and subject

matter experts to develop project plans, templates, control

documents and other process assets that will be used to

manage band production more effectively. The outputs

derived from the project processes will also provide a

platform for finding out what works and what doesn’t. In this

way, plans can be refined and modified for use on next

year’s project.

This approach will also assist in the bands’ ability to secure

funding from banks and government agencies by giving

them the confidence that business objectives are aligned to

project deliverables. Band leaders and government agencies

dealing with Mas and Carnival productions would do well to

partner with the PMISCC. This partnering can create the

platform for sustainable project development within the

Carnival industry by working with and guiding stakeholders

on the project management approach.

Project Management has always been practiced informally,

but emerged as a profession in the mid-Twentieth Century. It

has been developed mainly from its use in the construction,

engineering, telecommunications/IT and defence industries.

However, in recent times, project management is being

applied to any type of endeavour that meets the criteria for

labelling it a project. This may be the development of a new

product or service or the implementation of a new

computerised system for managing client information. It may

even be the production of a Mas band for Carnival anywhere

in the world, including Trinidad and Tobago, and even in the

remote village of L’Anse Fourmi, Tobago! In fact, its

application can be found in any endeavour that is faced with

complex processes, cross-functional expertise, tight budgets

and timeframes.

Mr. Satram-Maharaj noted that only three percent of the Mas

bands involved in Trinidad and Tobago Carnival are able to

Just to give an idea of the usage, we provide some of the more familiar process outputs and

their relationship to the process group and knowledge area.

The processes aligned to these groups emanate from the ten

knowledge areas:

• Integration - Pulling together of updated information from all the

other knowledge areas

• Scope - All the work activities associated with full presentation of

the band at Carnival

• Time - Scheduling a timeframe and for all activities of the band

• Cost - Accurate pricing of the material and labour to form the band

• Quality - Producing a high and acceptable standard of work

• Human Resource - A group or person to organize and manage the band

• Communication - Establishing a way to reach band members and

all personnel associated with the band for Carnival through

phones, flyers, banners, P.A. (public address) systems, etc.

• Risk - In the event there is a loss, damage or injury, a plan is in place

• Procurement - the process of getting goods and services in an

organized manner

• Stakeholder Management - An organized group providing input

and contributing together towards the management of the band.

All projects, being unique and temporary in nature, will have

specific objectives with a start and finish date. There are five

process groups which govern the flow of information and

activities across the life cycle of the project. These are

• Initiating -

to introduce, start, begin or accept

• Planning -

to make a plan, propose, schedule or program

• Executing -

to perform, put in effect or carry out plans

• Monitoring -

to keep track of information in a systematic manner

• Closing -

to finish or complete

40 41


WRITTEN BY SAVITRI SAROOPsave your skinIN THE BLAZING SUN!

CARNIVAL MONDAY AND TUESDAY: THE GREATEST SHOW ON EARTH. THOUSANDS OF BODIES PULSATING, GYRATING, WINING! EXPOSED FLESH. CARNAL, SENSUAL, SEXUAL. THE BEACH: A CARIBBEAN BIRTHRIGHT. OH, HOW THE SUN CARESSES THE BARELY-COVERED BODIES. ITS RAYS REACH, TOUCH…DAMAGE!?

You’d never think that as people who live in the tropics and experience the heat and direct sunlight most of the year, we would not know how to deal with the ill-effects of sunlight. Maybe we’re still rebelling against the seemingly endless reminders from our mothers telling us as children to get out of the midday sun just as we are about to win the game of marble pitch or cricket. We all know that we should get shade during the height of the day’s heat from around 12:00 pm to 3:00 pm or 4:00pm in the afternoon. Yet on many days at the beach or during Carnival season, we often leave our skin exposed.

Generally, Caribbean people take being in the sun for granted. After all, most days are sunny days. Too much sunlight though, is bad, even for the dark-skinned among us. Exposure to ultraviolet light from sunlight accounts for 90% of the symptoms of premature skin aging. It can lead to cataracts, weaken the immune system and cause skin cancer. In fact, many skin changes that were commonly attributed to aging, such as easy bruising, are actually a result of prolonged exposure to UV radiation.

WHAT IS UV RADIATION?The sun emits radiation of different wavelengths and we call this ultraviolet (UV) radiation. Of the three best-known types, UVC radiation is almost completely absorbed by the ozone layer, so it does not affect the skin. It can be found in artificial sources such as mercury arc lamps and germicidal lamps.

UVA and UVB radiation on the other hand, do affect us. UVB radiation damages the outer layer of skin, the epidermis, and is the primary agent responsible for sunburns. Close to the equator, like we all are in the Caribbean, we experience strong UV rays when the sun is overhead; sunlight remains at its the most intense between 10:00 am and 2:00 pm.

UVA radiation penetrates even deeper into the skin than UVB. The intensity of UVA radiation is more constant than UVB without the variations during the day and throughout the year. Neither UVB nor UVA is filtered by glass and both can cause skin damage.

NOT ALL UV EXPOSURE IS HARMFUL.Some exposure to sunlight and UVB rays in particular is necessary for healthy development. You see, exposure to UVB from sunlight triggers Vitamin D3 formation in the skin. This helps the body absorb calcium and phosphorus and plays a crucial role in skeletal development, immune function and blood cell formation.

UV radiation has been used to successfully treat a number of diseases, including rickets, psoriasis, eczema, jaundice, lupus vulgaris and vitiligo. In winter months, people who live in temperate climates face the concern that less exposure to UVB rays may reduce their body’s production of Vitamin D3. For us in the Caribbean, the concern is just the opposite – how to prevent excessive exposure to UVB rays.

MYTH: DARKER PEOPLE HAVE NOTHINGTO WORRY ABOUT. It is true that dark skin provides some protection against sun damage. People with light skin types have a much higher incidence of skin cancer than do people with dark skin types. But dark skin is not a guarantee against skin cancer. People with dark skin, hair and eyes can — and do — get skin cancer.

People with darker skin may tan more easily than others. But tanning is still a form of skin damage. Tanning occurs when UV radiation is absorbed by the skin, causing an increase in the activity and number of melanocytes, the cells that make the pigment melanin. Melanin helps to block out damaging rays up to a point, which is why darker-skinned people burn less easily.

However, just tike those with light skin, people with dark skin are at risk of premature skin aging from excessive exposure to the sun. This includes wrinkles and mottled or uneven skin pigment. If you have an active lifestyle or work outdoors, sun damage accumulates over time. The more you are exposed, the more your skin—and your eyes—can be damaged.

Additionally, certain medications like antibiotics can cause heightened sensitivity to the sun – called photosensitivity - which may lead to sun rashes and sunburns.

Cosmetic procedures such as micro-dermabrasion, laser resurfacing or chemical facial peels can also increase your skin’s sensitivity.

Regardless of your skin type, it's important to protect yourself by limiting sun exposure and wearing sunscreen and sun-protective clothing when outside.

But what are you to do when you have to be out on the streets in the blazing sun for two whole days trying to get as much wear as you can from that mas costume? You prepare by using a sunscreen with Sun Protection Factor (SPF) of 15 or higher. It should provide broad-spectrum UVA and UVB protection. Using a moisturizer will also assist in defending against UV exposure. Use sunglasses to protect your eyes as well.

As you have your fun in the sun, remember that your skin is with you for life, so treat it well.

TIPS TO SAVE YOUR SKIN

∆ Apply sunscreen 30 minutes before going out into full sun, to give your skin time to absorb the UV-deflecting chemicals that cause skin to burn and redden.∆ Take the sunscreen with you to the beach or on the road: no sunscreen lasts all day. ∆ There is no such thing as a completely “waterproof” sunscreen. Reapply after being in the water, or after prolonged sweating.∆ The SPF factor indicates how much longer your skin will be protected than if you had no protection at all. For example, if you would normally show signs of burning within 20 minutes, an SPF 15 screen will extend your time to 15x20 minutes—about 5 hours under ideal circumstances. But if you are sweating, your sunscreen will not be as effective for as long.∆ Your mind is your skin’s best protection: not all sunscreens are equally effective, and it may take up to 24 hours before a burn becomes apparent on the skin. So don’t wait for the signs to show—get a friend to remind you to reapply sunscreen every 2 to 4 hours!∆ The best protection for your baby is to keep her out of the sun. Sunscreens should only be applied to babies’ skin if you are unable to cover them. Especially at 6 months or younger, infants’ skin is much more fragile than adults’.

Article was originally published in the U Health Digest - Issue 4

uhealthdigest.com

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WRITTEN BY SAVITRI SAROOPsave your skinIN THE BLAZING SUN!

CARNIVAL MONDAY AND TUESDAY: THE GREATEST SHOW ON EARTH. THOUSANDS OF BODIES PULSATING, GYRATING, WINING! EXPOSED FLESH. CARNAL, SENSUAL, SEXUAL. THE BEACH: A CARIBBEAN BIRTHRIGHT. OH, HOW THE SUN CARESSES THE BARELY-COVERED BODIES. ITS RAYS REACH, TOUCH…DAMAGE!?

You’d never think that as people who live in the tropics and experience the heat and direct sunlight most of the year, we would not know how to deal with the ill-effects of sunlight. Maybe we’re still rebelling against the seemingly endless reminders from our mothers telling us as children to get out of the midday sun just as we are about to win the game of marble pitch or cricket. We all know that we should get shade during the height of the day’s heat from around 12:00 pm to 3:00 pm or 4:00pm in the afternoon. Yet on many days at the beach or during Carnival season, we often leave our skin exposed.

Generally, Caribbean people take being in the sun for granted. After all, most days are sunny days. Too much sunlight though, is bad, even for the dark-skinned among us. Exposure to ultraviolet light from sunlight accounts for 90% of the symptoms of premature skin aging. It can lead to cataracts, weaken the immune system and cause skin cancer. In fact, many skin changes that were commonly attributed to aging, such as easy bruising, are actually a result of prolonged exposure to UV radiation.

WHAT IS UV RADIATION?The sun emits radiation of different wavelengths and we call this ultraviolet (UV) radiation. Of the three best-known types, UVC radiation is almost completely absorbed by the ozone layer, so it does not affect the skin. It can be found in artificial sources such as mercury arc lamps and germicidal lamps.

UVA and UVB radiation on the other hand, do affect us. UVB radiation damages the outer layer of skin, the epidermis, and is the primary agent responsible for sunburns. Close to the equator, like we all are in the Caribbean, we experience strong UV rays when the sun is overhead; sunlight remains at its the most intense between 10:00 am and 2:00 pm.

UVA radiation penetrates even deeper into the skin than UVB. The intensity of UVA radiation is more constant than UVB without the variations during the day and throughout the year. Neither UVB nor UVA is filtered by glass and both can cause skin damage.

NOT ALL UV EXPOSURE IS HARMFUL.Some exposure to sunlight and UVB rays in particular is necessary for healthy development. You see, exposure to UVB from sunlight triggers Vitamin D3 formation in the skin. This helps the body absorb calcium and phosphorus and plays a crucial role in skeletal development, immune function and blood cell formation.

UV radiation has been used to successfully treat a number of diseases, including rickets, psoriasis, eczema, jaundice, lupus vulgaris and vitiligo. In winter months, people who live in temperate climates face the concern that less exposure to UVB rays may reduce their body’s production of Vitamin D3. For us in the Caribbean, the concern is just the opposite – how to prevent excessive exposure to UVB rays.

MYTH: DARKER PEOPLE HAVE NOTHINGTO WORRY ABOUT. It is true that dark skin provides some protection against sun damage. People with light skin types have a much higher incidence of skin cancer than do people with dark skin types. But dark skin is not a guarantee against skin cancer. People with dark skin, hair and eyes can — and do — get skin cancer.

People with darker skin may tan more easily than others. But tanning is still a form of skin damage. Tanning occurs when UV radiation is absorbed by the skin, causing an increase in the activity and number of melanocytes, the cells that make the pigment melanin. Melanin helps to block out damaging rays up to a point, which is why darker-skinned people burn less easily.

However, just tike those with light skin, people with dark skin are at risk of premature skin aging from excessive exposure to the sun. This includes wrinkles and mottled or uneven skin pigment. If you have an active lifestyle or work outdoors, sun damage accumulates over time. The more you are exposed, the more your skin—and your eyes—can be damaged.

Additionally, certain medications like antibiotics can cause heightened sensitivity to the sun – called photosensitivity - which may lead to sun rashes and sunburns.

Cosmetic procedures such as micro-dermabrasion, laser resurfacing or chemical facial peels can also increase your skin’s sensitivity.

Regardless of your skin type, it's important to protect yourself by limiting sun exposure and wearing sunscreen and sun-protective clothing when outside.

But what are you to do when you have to be out on the streets in the blazing sun for two whole days trying to get as much wear as you can from that mas costume? You prepare by using a sunscreen with Sun Protection Factor (SPF) of 15 or higher. It should provide broad-spectrum UVA and UVB protection. Using a moisturizer will also assist in defending against UV exposure. Use sunglasses to protect your eyes as well.

As you have your fun in the sun, remember that your skin is with you for life, so treat it well.

TIPS TO SAVE YOUR SKIN

∆ Apply sunscreen 30 minutes before going out into full sun, to give your skin time to absorb the UV-deflecting chemicals that cause skin to burn and redden.∆ Take the sunscreen with you to the beach or on the road: no sunscreen lasts all day. ∆ There is no such thing as a completely “waterproof” sunscreen. Reapply after being in the water, or after prolonged sweating.∆ The SPF factor indicates how much longer your skin will be protected than if you had no protection at all. For example, if you would normally show signs of burning within 20 minutes, an SPF 15 screen will extend your time to 15x20 minutes—about 5 hours under ideal circumstances. But if you are sweating, your sunscreen will not be as effective for as long.∆ Your mind is your skin’s best protection: not all sunscreens are equally effective, and it may take up to 24 hours before a burn becomes apparent on the skin. So don’t wait for the signs to show—get a friend to remind you to reapply sunscreen every 2 to 4 hours!∆ The best protection for your baby is to keep her out of the sun. Sunscreens should only be applied to babies’ skin if you are unable to cover them. Especially at 6 months or younger, infants’ skin is much more fragile than adults’.

Article was originally published in the U Health Digest - Issue 4

uhealthdigest.com

inthenextissue

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Port of Spain, Trinidad and Tobago W.I.

P: 868.223.4687 / 223.7163M: 868.356.0024 F: 868.223.8611

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Issue 5April to June 2014

• YUMA Young Upwardly Mobile Adults

• Innovations in Mas

• Fancy Sailor...Still Dancing

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Mas Quarterly - Issue 4