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
The exhibitoin showcases 50 years of art in tribute to the Crop Over Festival.
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.
We Gatherin’ Activities Launched In Boston Over The Weekend
The spirit of Barbados was alive last Saturday, March 22, as the Consulate General of Barbados in New York, in partnership with the Barbados Tourism Marketing Inc. (BTMI), officially launched the ‘We Gatherin’ 2025 series in Boston.
According to Consul General Lorenzo Harewood, the event, held at the Sorrel and Lime place, was a spectacular showcase of Barbadian culture, bringing together scores of Barbadians and friends of Barbados for an unforgettable experience.
“Attendees were immersed in the rich sights, sounds, and flavours of the island, enjoying pulsating local music, mouthwatering Bajan cuisine, and a vibrant marketplace filled with stalls owned by Barbadian entrepreneurs,” he said.
He noted that from handcrafted souvenirs to locally made products, the event provided a platform for businesses to connect with the diaspora and promote authentic Barbadian goods.
The Consul General said that the energy in the room was electric as Barbadians, young and old, reunited with friends, made new connections, and celebrated their shared heritage.
A major highlight of the evening was the exciting giveaways, including exclusive discounted travel packages and the grand prize won by Carson Straughn – a trip for two to Barbados. The winners were thrilled at the chance to visit their homeland and immerse themselves in all that the island has to offer.
Mr. Harewood stated that the successful launch marked the beginning of what promises to be an exhilarating ‘We Gatherin’ 2025’ series.
“With overwhelming support and enthusiasm from attendees, the celebrations are set to continue in Connecticut, and Philadelphia, and culminate in a grand finale in New York throughout April and May. Many attendees have pledged to follow the journey, eager to experience more of the warmth, culture, and togetherness that define the Barbadian spirit,” he remarked.
The Consul General added: “The partnership between the Consulate and BTMI underscores a shared commitment to strengthening connections between Barbados and its diaspora while promoting the island as a premier destination for both leisure and business.
“As the excitement builds, Barbadians across generations are encouraged to join the movement, return home, and take part in the national festivals and activities happening throughout 2025.”
During the event, a brief intermission provided an opportunity to recognise outstanding professional achievements. Mr. Harewood took to the stage to present the prestigious Professional Achievement Award to Professor Cardinal Warde, a distinguished faculty member at the Massachusetts Institute of Technology in the Department of Electrical Engineering and Computer Science.
Professor Warde is widely regarded as a leading expert in optical information processing and display technologies. His extensive contributions to the field include over 150 technical papers, co-editorship of a book, and co-authorship of three book chapters on optical materials and devices.
Beyond academia, his innovative work is reflected in 12 patents related to spatial light modulators, displays, and optical information processing systems, solidifying his influence in advancing cutting-edge optical technologies. (PR/GIS)
Season Of Emancipation Must Grow Beyond “A Set Date Of Activities”
Minister with responsibility for Culture, Senator Dr. Shantal Munro-Knight, is suggesting that the Season of Emancipation (SOE) moves beyond the commemoration of a “set of dates of activities”.
In fact, she believes that the time has come for the successes of the celebrations to be consolidated to create a larger footprint that resonates with Barbadians on a larger scale.
Senator Munro-Knight expressed this view during the 2025 Season of Emancipation media launch at the Rock Hall Freedom Village, St. Thomas.
The Minister told the gathering that the Ministry engaged in “a period of reflection” after the hosting of each Season of Emancipation activities through the lens of the Ministry’s internal critique, public opinion where applicable, and that of its stakeholders.
“And that reflection has said a couple of things to us, one, that the Season of Emancipation needs to move beyond a commemoration of a set of dates of activities to grounding that understanding of that intersection again with the past, now and future within communities and within the wider Barbadian psyche…. We need to move beyond the chorus of those of us who understand, those of us who are enthused, those of us who have already embraced the notion of emancipation and that journey and what it means…. Like I said before, embracing the wider Barbadian [public] and bringing them into the discourse and to the full understanding,” Senator Munro-Knight proffered.
She continued: “Our reflection on the Season of Emancipation also says to us that we need to create scale, that while we have done a number of things that have been good on their own, a number of activities that have been good on their own, that we need to make sure that we can now consolidate on those efforts that have been successful by creating a larger footprint, and then again, as I said, engaging more Barbadians.”
The Minister maintained that this year’s activities would see a “more concentrated effort and not just public relations” but educational awareness that involved a mix of competitions, docudramas, and other activities to lift the Season of Emancipation to a higher level of engagement.
A highlight of this year’s activities Dr. Munro-Knight said will be a partnership with Duke University in the United States of America on a project to immerse the bust of King Cuffie at sea in Speightstown, St. Peter. The bust will be removed one year later from the date, as an act of reconnecting with the past.
Meanwhile, Programme Advisor for Reparations and Economic Enfranchisement in the Prime Minister’s Office, Rodney Grant, gave an overview of the activities for the season, which runs from April 14 to August 27.
Mr. Grant said the public must never take the sacrifices of our ancestors for granted as we reflect on our journey to emancipation.
“Our ancestors never had free will. They could not choose when they wanted to eat, when they wanted to work, when they wanted to get up, when they wanted to go sleep, and we now, today, take this free will for granted. They died, suffered; they were burnt to death because they fought for us today to have freedom to do the things that we see are necessary and the things that we enjoy…. We should not take freedom for granted.”
Mr. Grant noted that emancipation and freedom were processes that were not yet over and it was “incumbent on all of us to continue to fight for emancipation”. (PR/GIS)
The National Cultural Foundation (NCF) through the Theatre Arts desk is launching our Online Theatre Repository featuring the Poetry Project Showcase. This Drama-in-Education initiative directed by theatre stalwart Icil Phillips dramatises select poems on the CXC syllabus for English B (Literature) using improvisation.
Ms. Phillips has championed the Poetry Project in Secondary Schools across the island for over a decade with a team of four actors, traveling to schools at their request. The project was halted due to the COVID -19 pandemic. Nonetheless, the NCF saw it necessary to revive the project and partnered with Ms. Phillips to produce the Poetry Project as a showcase in April 2024. The recorded series of dramatized poems featuring actors Tiffani Williams, Addis Ayele Matthias, Asiah Shepherd and Kraigg Carrington will now be made available to the region’s English Literature and Theatre Arts students as a study companion.
This engaging video series will bring new and exciting delivery of poetry via the art form of theatre, enhance the examination preparation of CSEC English B students, continue to fuel the development of culture while bridging the gap between literature and theatre.
The Cultural Officer – Theatre Arts (NCF), Ms. Janelle Mitchell, is extremely proud to have produced the Poetry Project first as a showcase and now a digital resource for Caribbean students. “As one of the former actors in the Poetry Project in 2014, I have firsthand insight to the impact it had on students and teachers as they moved into exam preparation, and the development it provided for the actors during this project. I believe that it is essential to carry the mantle on behalf of Ms. Phillips through the provision of this online repository for students and teachers as a drama-in-education resource as part of their classroom activities.”
We invite all CSEC English B/Theatre Arts students and teachers to log onto www.ncf.bb and enroll in the free drama content to assist them with the opportunity to grasp new interpretations of the poetry, build their critical thinking and understanding, as they prepare for the upcoming examinations. (PR)