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NIFCA Music In The Square Back With Bang

The much-anticipated National Independence Festival of Creative Arts (NIFCA) Music in the Square series is back, and throughout the month of Independence will pay tribute to three of the island’s musical greats.

James Millington, Jackie Opel and Sir Emile Straker will be celebrated when some of the island’s finest musicians come together for three free concerts dubbed Icons Night. The concerts will take place each Friday (November 3rd, 10th and 17th) beginning at 6 p.m. at Golden Park Freedom Park, The City.

As NIFCA celebrates its 50th anniversary under the theme, 50 Years of Excellence RememberedIcons Night will be used as a vehicle to salute the dedication, service and contributions of these persons on the music landscape.

Cultural Officer of Music Education for the National Cultural Foundation (NCF), Kevin Moore, stressed that these three stalwarts were selected because whether directly or indirectly the impact they had on Barbadian musicianship, music education and Barbadian music performance was significant and far reaching.

In the case of Millington’s legacy, he was revered around the Caribbean for his eminence as an educator and was known for his development of the Combermere School music programme where he would have founded string and symphony groups.

During his time at Combermere, Millington directly influenced the likes of Dr. Duncan Fletcher and Victor Pilgrim whose guidance would in turn have impacted prominent musicians including Arturo Tappin, Pernell Farley, Mark Husbands and Chris Allman. Millington was also the father of renowned musician Janice Millington and the grandfather of Miles Robertson, the former musical director of Multiple Grammy winner Adele.

Night 1 of NIFCA Music in the Square kicks off this Friday with James Millington Night entitled From the Classics to Jazz. It will feature the David Weatherhead saxophone quartet, Bajan Brass, Combermere Steel Orchestra, the Barbados National Youth Symphony Orchestra, Kweku Jelani, Paula Hinds, Shawn Layne and more.

On Night 2 will be Jackie Opel Night and held under the theme “Spouge and Reggae”. Some of Barbados’ biggest names in reggae, including Daniel Medford, Rhesa Garnes, Peach Bless and Biggie Irie will share the stage with aspiring young talent such as Jessica Hunte, Asanta, Mighty Bit Bit, the St Leonard’s Boys’ Steel Orchestra, Baje to the World winner Kyrique Alleyne and many more.

St Luke’s Academy made their NIFCA debut at last year’s Music in the Square.

Moore stressed that while Barbados claims Opel, especially for his development of the indigenous Spouge genre, the Cry Me A River singer was highly respected in Jamaica’s music industry. In fact, top reggae stars on that island, including The Wailers’ Bob Marley, Peter Tosh and Bunny Wailer, for example, have credited him as one of their major influences in their early music.

While Sir Emile’s impact on not just Barbados and Caribbean music, but internationally, will be celebrated on Night 3 when focus will be paid on his work in calypso and folk music.

Sir Emile’s group, The Merry Men, was at the vanguard of the promotion of Barbados music spanning from the 1960s and lasting for well over 40 years. They were the first Barbadians to be featured at The Super Bowl half-time show in 1979 performing calypso/folk music. 

The Mighty Gabby will be leading a host of excellent talent in Sir Emile’s tribute with lineup that includes, St Leonard’s Boys’ Choir, the Ignatius Byer Primary School Choir, Arts in the North, Mylon Clarke, Alex Cage, the winner of the NIFCA arrangement challenge and others.

NIFCA Music in the Square was built last year where the young talent of Barbados was showcased at after work limes on Fridays in the month. (PR/GIS)

Culture

Drama in the Community Training Programme is here again!

The National Cultural Foundation (NCF) continues its mission to preserve and promote Barbados’ Intangible Cultural Heritage (ICH) with the return of its much-anticipated community training programme in 2025. Building on three successful years of training in Drama and Spoken Word, the NCF will introduce an exciting new addition – Fling, a vibrant musical and dance-driven art form created by the Barbadian group AzMan.

Earlier this year, the NCF welcomed an impressive 160 participants, aged 6 to 66, to a 10-week training programme in Drama and Storytelling. The participants, drawn from communities across the island, showcased their newly acquired skills on National Heroes Day, demonstrating the transformative power of community-based arts education.

The training workshops were led by a team of experienced and passionate tutors, including Drama specialists Tiffani Amber Williams, Asiah Shepherd, Carolyn Brathwaite, Telia Williams, and Alicia Edwards, as well as Storytelling tutors Kenneth ‘Jack’ Lewis, Yolanda Holder, and Akeem Chandler-Perscod. Their dedication, along with the commitment of the participants, was praised by Janelle Mitchell, the NCF’s Cultural Officer for Theatre Arts, who described the enthusiasm as a positive sign for the programme’s future.

“Seeing the growth, creativity, and passion of our participants from different age groups was truly inspiring,” said Mitchell. “This is exactly what we aim to achieve through our ICH programming – community development, intergenerational learning, and cultural preservation.”

The upcoming 2025 programme promises to be even more dynamic, with the return of free workshops in Drama and Spoken Word, alongside the introduction of Fling. This culturally unique movement, characterized by its lyrical vocal content and infectious danceable rhythms, reflects the vibrant pulse of modern Barbadian expression.

The public is invited to take advantage of this unique opportunity to learn, grow, and connect through art. Registration is now open via the NCF’s website at https://ncf.bb/registration-forms. Spaces are expected to fill quickly, so interested participants are encouraged to sign up early.

The NCF remains committed to supporting Barbados’ cultural landscape through innovative programmes that encourage creative exploration and community participation. As 2025 approaches, the Foundation looks forward to nurturing the next generation of actors, spoken word artists, and cultural ambassadors, all while safeguarding Barbados’ rich and vibrant intangible cultural heritage. (PR)

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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

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.

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Culture

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.

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