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 50th 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)
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.