Culture

Four former monarchs to pay tribute to Crop Over 50

When the 18 finalists of the Courtesy Garage Pic-O-De-Crop Finalpb gather to do battle on tomorrow night, Friday August 2nd, it will be an historic occasion for more reasons than one.

For the first time, four former monarchs — each of whom at pivotal times left a lasting mark on the island’s premier calypso competition — will take the stage to celebrate Crop Over’s 50^th anniversary.

A wave of nostalgia is anticipated to sweep over the National Botanical Gardens as the festival’s first king Keithroy Destroyer Christian, calypso’s maestro Most Honourable Anthony Gabby Carter, the most decorated Pic-O-De-Crop monarch Most Honourable Stedson Red Plastic Bag Wiltshire and the celebrated General Edwin Yearwood take the audience on a musical journey through their storied history in the competition.

Destroyer will kick off the show, a role he is quite familiar with, having claimed the crown back in 1975 during the inaugural Crop Over Calypso competition.

Before the National Cultural Foundation (NCF) was established in 1983 to organise Crop Over, in 1974 the Barbados Board of Tourism (BBT), led by Julian Marryshaw, set up a Crop Over Committee to revive the festival to attract more tourists. However, as Destroyer recalled, calypso competitions were initially not viewed as a driving force of the festival. Hence none were introduced at the state level.

That was until 1975, when he and fellow calypsonian Edrick Mighty Dragon Jordan approached Marryshaw with the idea of a state-run calypso competition. An idea which was met with support. That year, competing before a modest crowd of about 40 at Marine House in Hastings, Christ Church, Destroyer walked away with a challenge trophy for the self-penned Crop Over Bacchanal/Crop Done) and Come Together.

The following year, having not received his promised winnings of $300 and a trip to Trinidad to perform in a tent for payment, he refused to defend his crown and Gynner won the show.

There was no competition in 1977 but in 1978 it returned when the Ministry of Education and Culture, under the auspices of Minister of Education, Louis Tull, took over and it was moved to the National Stadium. Destroyer returned and for a second time he was victorious, with the kaisos I Man Bitter and Message to The People, for which he was paid $310.

Before the national calypso competition was established, the 1960s and 70s were defined by several privately-run contests that played a crucial role in the artistic evolution and cultural significance of the genre. In this lively scene, few names carried the weight of the Mighty Gabby, whose influence and contributions would go on to shape the calypso landscape for generations.

As a young calypsonian, Gabby entered the scene in the early 1960s and brought a perspective that set him apart. He said his early performances were characterised by a unique blend of wit and humour, sharp social commentary and engaging melodies which earned him the Jaycees title in ’68 and the Al Gilkes and Mark Williams Showdown held at the Globe Cinema in ’69. He would travel overseas from 1971 to ’76, but upon his return that year, it would prove triumphant at the Calypso Enterprises’ organised Independence competition.

Voted folk singer of the Year in ’77, ’78 and ’79, it was during this period that Gabby started to gain recognition for his ability to address social and political issues, and his willingness to push the boundaries of the genre – a hallmark of his career. He subsequently cemented his status, with five national titles in ’85, ’97, ’99, 2000 and ’10.

By the summer of 1982, the Crop Over competition, now renamed the Pic-O-De-Crop, saw the emergence of a game-changer out of Bayfield, St. Philip. Barely out of his teens, RPB brought a confidence on the heel of winning three consecutive calypso contests at his local St Philip competition (’79,’80 and ’81), an unparalleled perspective and infectious energy to the stage. His entry into the national competition was not just a noteworthy event; it was a sign of the evolving nature of calypso, as the next generation of artistes began to make their mark.

His performance of Sugar Made Us Free and Mr. Harding Can’t Burn was distinguished by a unique blend of youthful exuberance and raw talent. He noted it was his goal to balance the traditional elements of calypso with his own innovative style, to create a performance that was both nostalgic and forward-thinking.

The crowd of thousands that packed the National Stadium and tried to scale the walls was captivated, and as he created history as the youngest person to win the crown at 21 years, it was a clear indication that the future of calypso was in capable hands. So capable in fact, that RPB went on to dominant, winning the monarchy a record 10 times in ’82, ’84, ’89, ’96, ’98, 2002, ’03, ’07, ’09 and ’12.

Yearwood’s debut in 1995, sparked a significant shift in the perception and interest of younger audiences in calypso with his introduction of a fresh sound that was on one hand innovative and captivating, yet controversial. It was characterised by a blend of modern influences but faced much criticism for not fitting the traditional “kaiso” mold.

Although new to the competition as a finalist, Yearwood was no stranger to the event, having served as a backing vocalist for several top calypsonians, particularly those from the Battleground Calypso Tent like late Romeo, Gabby and Grynner.

For him, the most memorable moments in competition came when sitting backstage and hearing almost every contestant perform a song about him. This experience not only validated his efforts but fueled his motivation, ultimately leading him to created history that year as the first and only triple crown monarch in a single year as he walked away with the Pic-O-De-Crop, Party Monarch and Tune of the Crop for A Voice In My Head, and Obadele.

Yearwood would go on to make his mark as the General of soca but there is no denying that his musical influence continues to be felt in contemporary calypsos as artistes experiment with fusions, ensuring that calypso remains a vibrant and evolving art form. (PR)

Culture

BEADING WORKSHOP FINISHES TODAY

Bishop Tarambawamwe runs Master Wire and Beadcraft, a South African company specialising in providing high-quality bead and wire products to both the local and international market. From growing up in Zimbabwe playing with wire cars as a child, to taking inspiration from nature for his amazing designs, he now brings his expertise to Barbados. The workshop features an all female group who will benefit from hands on training while learning how to monetise their new skillset on the way to becoming entrepreneurs.

Culture

International Songwriting Camp

Twenty-eight cultural practitioners have reaped significant benefits from the International Songwriting Camp produced by the National Cultural Foundation (NCF).

Following intense practical, developmental and professional exercises facilitated by local and global premiers, the NCF-registered practitioners now have an increased understanding of the craft of global song writing, knowledge of publishing and songwriting, placements, licensing, and synching among other areas.

The sessions were held between September 30 and October 5, at the Lloyd Erskine Sandiford Centre where participants and producers had access to portable studios to turn penned lyrics into musical renditions of different beats and genres.

On Wednesday, the participants went on a field trip and were required to write a song for a commercial.

And on Saturday night, a listening session was held at the Sage Bar and Stage featuring the songs written and produced during the camp.

Singer and songwriter Casheda Dottin said she was grateful for the opportunity to participate in the comprehensive camp which has left her with a wealth of knowledge and skills which will take her career to another level.

“I am grateful to the NCF for bringing about this initiative to help creators improve their craft. It was such a phenomenal experience because not only were we able to do songwriting workrooms where we were working with different people, but every day we were able to experience working with different producers,” Dottin said.

She added: “And it was also interesting to see how I was able to gel with other writers and singers to create music. It was far from easy and sometimes it was very intense but we were all still able to work together to produce some wonderful music.”

Singer-songwriter and multi-instrumentalist Marley Kirton said it was an amazing experience obtaining advice and gaining knowledge from experienced professionals in the field.

“But at the same time it was so powerful to get to collaborate with local artistes who are established, growing, or trying to discover their careers. This camp is a reminder of the potential and talent among the younger generation here on the island. My biggest lesson is learning not to hide my talents and that you should share them with those around you,” Kirton said.

The NCF came in for high praise for hosting the first songwriters camp of its kind which supports the realistic execution to reach the global standard which lends to reciprocation to earning sustainable income and reaching international standards.

Grammy Award-winning producer and composer Che Pope commended the NCF for investing in its creators.

“I don’t know if you realise that this is luxury. Many countries don’t have a ministry of culture and an NCF. There are only so many countries that invest in and care about the talent and the arts in their country.

“The US [United States] does not have a ministry of culture, the US does not give grants like Canada and places like Barbados. I hope you guys understand the opportunity that’s at hand,” Pope advised.

Composer, songwriter and producer Henk Pool was also impressed that the Government is investing in its talented young people.

Pool said while he would have passed on knowledge to the participants, he also benefited from interacting with them.

“I think the openness, warmth and talent of people was amazing. I travel around the world facilitating song writers’ camps everywhere and I would love to see Barbados song writers travelling around the world because the talent is absolutely there. They just need the chance to network and that’s why I love the Barbados government for doing this,” Pool said.

United Kingdom songwriter, producer and multi-instrumentalist Josh Wunderlich, signed to DWB Music, said this was his first time visiting Barbados and noted that working with the cultural practitioners during the camp helped him to gain a wealth of knowledge about the island’s culture.

“We have been sharing ideas and creating songs that are completely unique. No one has ever heard anything like the music created during the camp because this hasn’t been done before,” Wunderlich said.

Meanwhile, Business Development Officer, Music and Music for Film, at the NCF, Lisa Howell, said the successfully executed camp was well-received by the cultural practitioners who began reaping results from the first day.

Howell said the practitioners are now in a better position to write and produce internationally marketable songs.

“So I would say yes we met our goal for this round and hopefully we have the support to continue to facilitate programmes like this. Barbados rose to the occasion. I am really thankful that we had some of our local premier producers and songwriters facilitating. We had Dr Stedson ‘RPB’ Wiltshire who was so invested in showing up every day,” Howell said.

The business development officer added: “We had local producers like Dwain Antrobus, Peter Coppin, Darien Bailey and Simon Pipe who were also facilitators. So we not only brought in global experts in their field, but we also showed our own local premier practitioners in their respective fields and that made us feel good as the National Cultural Foundation.” (PR)

Caption: from left to right – Singer/Songwriter Munirah Nailah, Gospel Artiste/Songwriter/Producer James Cumberbatch, Singer/Songwriter Dania, DWB Songwriter/Producer Pete Barringer, Songwriter/Producer/ Gospel Art

Culture

BPS Crop Over Do-Flicky Costume Competition Winners Announced

Five winning teams have emerged from the recently held prize-giving ceremony of the inaugural ‘Barbados Postal Service (BPS) 2024 Crop Over Do-Flicky Costume Competition’.

The winners hail from the Post Offices of St. Joseph; St. George; Welches Road; St. Philip and the General Post Office in Cheapside.

The overall winner of the competition is the eight-member team of the General Post Office’s Accounts Section, who each received an Island Safari Tour. Second place went to the Welches Road Post Office, third was the St. Philip Post Office, fourth was the St. George Post Office and fifth place went to the St. Joseph Post Office.

Winning Teams (flanked by BPS management), of the inaugural ‘BPS Crop Over Do-Flicky Costume Competition’, from the GPO; Welches Road PO; St. Philip PO; St. George PO and the St. Joseph PO.

Postmaster General, Joann Busby, in her address to the winners, stated, “We look forward to many more events like this in the future, celebrating both our history and commitment to excellence.”

Concept Creator of the competition, BPS Marketing Officer Neiai Hall said, “This competition aims to showcase the creativity and cultural expression of our staff, through costume design and performance. The theme of the competition is rooted in our rich heritage and the vibrant spirit of Crop Over.

On left – ‘BPS Crop Over Do-Flicky Costume Competition’ 2nd Place Winning Costume, On right – ‘BPS Crop Over Do-FFlicky Costume Competition’ 3rd Place Winning Costume.

“We have encouraged participants to design costumes that not only display their creativity but also incorporate elements that represent the services offered by the BPS”.

The judging criteria consisted of Sustainability; Creativity; Depiction of a BPS Service; Originality; Portrayal; Video Creativity and Originality; Practicality and Inclusivity and Descriptive Write-Up.

Plaques were presented to each of the winning teams and the St. Joseph Post Office also received the Postmaster General’s special award for Outstanding Advertising Video in the competition. (PR/GIS)