The City of Bridgetown (COB) All Stars Calypso tent was the first to be judged for this year’s Crop Over Pick of the Crop competition. The show was held on Sunday at the Gary Sobers Gymnasium. The large a tough one. With the name All Stars, and it is easy to understand why the name was chosen, it is indeed a tent with lots of star performers.
Veteran calypsonian De Devil started the show and if anyone expected things to go down to hell, they were wrong as the show was lifted higher and higher by each performer. Despite battling a slight illness De Devil looked easy and comfortable as he did his song ‘Lit bit of dis, lit bit of dat’.
The first encore for the night was Franswa with a cleverly written song ‘Not only in Bim’. Not a household name in calypso circles but his flawless rendition surely will make the judges take note.
Sammy G with “Tek a shot” Charisma with “Hear” and Yahandje with “Heartless and Broken” each graced the stage and delivered their songs convincingly. The message to engage and listen to the young people in our society before it is too late resonated when Yahandje poured herself into her song.
Richard Antonio had a few people waving pride flags as he performed a thought-provoking song “Pride and Industry.” The song encouraged to pay attention to the LGBTQI Pride movement. A loud protest shout of ‘not ’bout here!’ could have been mistaken as part of the act, but it was not.
Darin Holder’s “Living life in reverse” a highly creative and forward-thinking concept for a song from a relative newcomer to the calypso stage, the multi-talented Holder made our minds think about the benefits of living life from an old age and journeying into our youthful year. It is a brain teaser that would cause most people to lend Darin an ear. If the judges like it Darin Holder may not be reversing but rather speeding forward to the finals.
The 10 points man of yesteryear Colin Spencer was smooth as silk in voice but coarse as sandpaper with his lyrics. His much-misunderstood calypso “Because of me” is a good exhibition of the craft of writing classic calypsos.
The top comedian Eric Lewis should be taken very seriously this year. After having a “Conversation with Mr. Satire” his message is no laughing matter he uses satire to expose a range of social and political realities that are hiding in plain view in Barbados. Serious judges will give this song deep consideration and send it to higher court.
Sammy Dello , gives testimony to a new out look of life. In his song “Chasing” he suggests that we spend too much time pursuing the wrong things. Looking fit and energetic, Sammy Dello is chasing down family, friends, and more wholesome things in life.
COB All Stars under the leadership of Eleanor Rice is a well-organized tent. The backing band is solid, and the back-up singers are invaluable to each song. All calypso tents need MC’s like Jennifer Walker and The Queen do a fantastic job. Not a minute is lost as the two of them manoeuvre between acts all the while interacting with the chatty audience.
Barbados’s Extempo King Shawnie performed a humorous and entertaining song “Its yuh voice”. Shawnie always grabs your attention as you are waiting for his extempo deliveries which are full of amusement. Caribbean Queen used her strong voice and clear diction to cry out for the rights of women to decide what to do with their pregnancy. Movingacross the stage with ease she advised all including the Catholic church to allow women to have a voice in the matter of abortion. This subject will surely evoke discussion.
Another encore performer was Niqa. Singing a song called “Chosen Few”, Niqa fell into the character of the song and had the entire Gymnasium in the palm of her hands, her chorus line is infectious, and she had not only her back-up girls singing but she had the audience. Niga’s performance hopefully earned her a place in the judges chosen few.
Kidsite kept his standard of calypso high with “If they had their way” . Looking large and totally in charge in a white outfit, the former multiple calypso king suggested that if the authorities had their way things would be worse than they currently are. Jude Clarke addressed the topic of AI in a song called “Artificial Intelligence”.
Next up was Donella doing the most emotive song for the night “Who next”. We all know that the lady is a class act and that she never disappoints. The topic of guns and murders in Barbados touches the heart of everyone especially the mothers of victims of crime. The intensity of Donella as a mother is witnessed in the way she renders the song; one can hear the tears in her voice. Her performance was a winning one.
One of the big calypsos for Crop Over 2023 is the hot and spicy “Cat piss and peppa” performed by Teri. This hard-hitting political commentary is waking up the tent each time. Teri knows how to work the song and she whipped up the audience, had them dancing and singing along. There are not many calypsos this year that contain the ‘peppa’ of this song.
John Yarde preached the “Gospel according to John” and his ‘congregation’ was converted and convinced. The man of the clothe demonstrated why he can wear two caps and be a man of calypso.
All Stars’ judging night was already solid as a rock by the time the last performer Ishaika came to sing “piece of de rock”. Closing a show of this calibre can not be easy, one would have to be an ace performer. Ishaika’s imagery in the song and on stage were riveting and seemed to surprise the audience who had heard 18 top class calypsos for the night. “Piece of de rock” may be good enough to get Ishaika piece of the real estate at the calypso finals. (Christopher Williams)
Crop Over Festival: Nostalgia Through the Economist’s Lens
Article by Keisha Blades
Since the 18th century, the Crop Over Festival has captivated Barbados annually, typically taking center stage for several weeks and culminating in August. Originally marking the end of the sugar cane harvest, Crop Over has evolved into one of the island’s most significant cultural events. For myself and many others, Crop Over is more than a festival; it is a deep-rooted tradition reflecting Barbados’ rich cultural heritage. It has become a shared identity, uniting all who immerse themselves in this unique, dynamic mosaic of experiences. More than just a cultural spectacle, Crop Over is a major economic driver. It attracts a flood of regional and international visitors, generating substantial revenue. According to then Prime Minister Freundel Stuart in a 2012 article by the Barbados Government Information Service (GIS), Crop Over brings in around BDS$80 million, making it a significant revenue earner even during a recession. As Crop Over celebrates its 50th anniversary this year, I feel a wave of nostalgia along with a desire to share my perspective through an economist’s lens. Join me as I delve into the diverse perspectives on the festival, ranging from the sentimental to the economic.
The Sentimental Perspective
My earliest memories of the festivities encapsulate pulsing sweet soca music, the annual tradition of the open-air Bridgetown Market with numerous stalls selling intricate local handmade crafts, aromatic foods, and refreshing drinks/snow-cones, a multitude of lively fetes, and the Visual Arts Festival and its exhibitions showcasing Barbadian heritage through dance, music, and theatrical performances. The highlight was the colourful parade of elaborate costumes glimmering in the sunlight, on Grand Kadooment, the grand finale of the festival. As a child, I fondly recall watching my mother adorned in exquisite costumes, eagerly anticipating the moment when I could wear the pieces of her ensemble. Each year, receiving these vibrant jewelled and sequined costume pieces became a cherished highlight. Wearing them for my own parade, and the days that followed, felt like Kadooment Day every day. From then, I knew Crop Over was something I wanted to be part of. From a child masquerading in Kiddies Kadooment to an adult showcasing the most exotic costume designs, it’s safe to say that Crop Over has become an integral part of my life.
The Economist’s Lens
As my perspective shifted from consumer to analyst, my view of Crop Over expanded to include a keen interest in its economic dimensions. This vibrant festival serves as a distinct cultural and social platform that has grown in significance, continually generating opportunities and stimulating economic activity across various sectors. Local vendors and artisans reap significant benefits as the festival provides a platform to showcase and sell their goods. This creates a ripple effect, stimulating various sectors of the economy and offering numerous job prospects, from retail to event planning and logistics. The season is also incredibly lucrative for a wide range of creative, skills-based services. It generates income opportunities for musicians, singers, songwriters, DJs, choreographers, dancers, Kadooment bands, costume designers, and make-up artists, among others. Additionally, the influx of travellers increases the demand for accommodation, specialty foods, beverages, entertainment, retail shopping, guided tours, and transportation. This economic activity fosters growth and employment across multiple industries. Yet, the dynamic ripple effect typically generated by Crop Over was starkly absent during the two years it was cancelled due to the COVID-19 pandemic. The contrast was palpable, highlighting just how vital the festival is to the community’s economic health. Former Central Bank Governor Mr. Cleviston Haynes emphasized the pivotal role of Crop Over in driving economic activity, foreign exchange earnings, spending, and tourism—the backbone of our economy. As a result, the consecutive cancellation of Crop Over had a profound impact, leading to substantial annual revenue losses across various sectors and further slowing down the country’s economic recovery. This period was characterized by a careful weighing of pros and cons, with efforts focused on navigating the pandemic cautiously despite its significant economic repercussions. The next year, in his economic review for January to June 2022, former Governor Haynes reiterated the positive impact of Crop Over, saying, “Even without an influx of visitors, Crop Over generates significant economic activity. The events over the past few weeks show that these festivities positively impact the economy, and I expect this will contribute to overall growth for the rest of the year.” As expected, the Central Bank of Barbados’ Review of Barbados’ Economic Performance for 2023 reported an estimated growth of 4.4 percent. This growth was primarily driven by tourism, “bolstered by the vibrant revival of the Crop Over festivities”, among other factors (Central Bank of Barbados, 2024).
The Intersection of Sentimentality and Economics
When it comes to decision-making in festival planning, pricing, and marketing, economic considerations play a pivotal role. Organizers must strike a delicate balance between honouring the event’s historical and emotional significance while ensuring it remains financially sustainable. This balance is not always easy to achieve, as decisions about ticket pricing, sponsorships, and marketing strategies can profoundly impact attendance and community engagement. Finding this balance has grown increasingly challenging due to a myriad of unforeseen events such as geo-political conflicts, natural disasters, climate change, elevated foreign interest rates, and technological disruptions caused by cyber-attacks. In a recent IMF Working Paper, Cevik and Gwon (2024) asserted, “the impact of weather shocks on supply chains and inflation dynamics is likely to become more pronounced with accelerating climate change.” For Crop Over consumers, this means inflation continues to chip away at their purchasing power, making it harder to keep up with rising costs. For Crop Over suppliers, this situation forces a tough choice: either absorb the additional costs themselves or pass them on to consumers. Additionally, finding sponsors becomes increasingly difficult as they too are faced with constrained budgets.
In the realm of festivals and cultural celebrations, conflicts often arise between the desire to preserve tradition and the drive to maximize economic returns. Traditional practices and rituals may clash with modern economic realities, leading to tough decisions about whether to adapt or compromise cherished customs for commercial success. After half a century, Crop Over has flourished and transformed, now poised to truly reach its full potential. With this in mind, stakeholders understand the importance of moving to a route featuring wider roads, ample space for vendors and spectators, and a layout that can be efficiently managed by the police and defence force. This was highlighted by Jason Thompson, President of the Barbados Association of Masqueraders. These decisions aren’t just about the merriment of the masqueraders; they also focus on the economic well-being and livelihood of the vendors. This is particularly crucial since vendors were hit hard in 2021 when the route was moved to the ABC highway. In essence, the intersection of sentimentality and economics in festival management underscores a complex interplay of values, priorities, and practical considerations. Successfully navigating this intersection requires a nuanced understanding of both cultural significance and economic dynamics, ensuring that the festival not only survives but thrives in the face of evolving challenges.
Finding Balance
Experiencing Crop Over from a consumer’s perspective is a joyous dive into a cherished tradition. However, an economic analysis offers a different lens. Behind the scenes, there’s a complex web of financial considerations—budgeting, pricing strategies, sponsorship deals, and logistical costs. While consumers revel in the festivities, organizers grapple with balancing emotional resonance and economic viability. A balancing act that is no small feat. From ticket prices to vendor fees, every decision impacts the festival’s financial health and sustainability.
Reflection
Reflecting on my experiences, my view of Crop Over has evolved. Initially, I was captivated purely by the sensory delight and emotional connection. Over time, as I’ve come to understand the economic intricacies, I appreciate the festival’s resilience and adaptability even more. It is a complex economic entity requiring meticulous planning and strategic financial decisions to thrive.
Crop Over epitomizes the heart and soul of Barbados, showcasing our creativity, and community spirit. Its continued success hinges on our ability to innovate while preserving its unique essence. More than just a festival, Crop Over celebrates our identity and enduring spirit. By navigating future challenges and opportunities, we can ensure it remains a beloved tradition for generations to come.
Cultural Diversity On Full Display, Celebrating The Samburu And Maasai Heritage
The Maa Cultural Festival was back for its second edition, running from November 6 to November 10 at the scenic Samburu National Reserve. The festiva was held over five vibrant days showcased rich traditions as well as the cultural brilliance of the Samburu people and their Maasai neighbours. It drew attendees from Kajiado, Narok, Laikipia, Marsabit, Isiolo, and Nakuru.
The celebration displayed Maa’s unique traditions through dances, music and art. Visitors immersed themselves in authentic cultural experiences, sampling traditional meals like nyama choma and boiled meat with soup; a true gastronomic delight that enriched the cultural journey.
Along with dance music and art there was a vibrant display of Kenya’s cultural dressing as attendees bedecked themselves in beautiful beaded art worn around their necks, arms and on their garments.
Parish Ambassadors, representing the eleven parishes will show their talent, costumes and formal attire this Saturday November 16th evening at the Garfield Sobers Gymnasium the show begins at 6 pm.