70 gold awardees will be on show at Saturday’s Expo
Almost 70 gold awards have been won in this year’s NIFCA Visual Arts Competition.
Come Saturday at 10 a.m. when the official opening of the Adult and Children’s Exhibitions takes place at the Queen’s Park Gallery and the Steel Shed, the public will get to see those entries plus those earning silver and bronze awards in the first post-COVID NIFCA competition.
The NIFCA Visual Arts Competition – for juniors and non-professionals – spans the categories of Fine Art, Craft and Photography and is a highlight of thefestival which is celebrating its 50th anniversary under the theme “50 Years of Excellence Remembered”.
The National Cultural Foundation’s Curator Oneka Small says they are “very satisfied” with the response to this year’s competition and noted that “a lot of the awards are driven by attaining gold”.
“We’re doing a format where we have Simply Gold in the Queen’s Park Gallery and highlighting the best of the best. We have about 67 gold awards between schools in Fine Arts, Photography and Craft categories and, in the Steel Shed we’re having more than 60 silver and bronze awards displayed. The exhibitions will run until Saturday, December 2.
“For the photography, fine arts, and craft adult and junior entrants that were outside of the schools, there are 17 gold awards, and the rest are golds from the schools. In adult photography, we have no gold awards, but we have silvers and bronze. We have one gold in the junior photography and in adult craft, we have one gold award. …It’s really focusing this year clearly quite heavily on young people and our youth and that’s a positive thing,” Small said.
The curator added that this year, schools mounted displays at their respective compounds where they were viewed by the panel of judges. She also noted the criteria for schools are different to the adults starting at 86 points compared to the adults which begin at 91 points.
Although judging of entries started around the middle of October and wrapped up earlier this month, another round of judging will take place on Friday among the gold award winning entries to determine if any of them merit one of the special awards such as The Ivan Payne Award of Excellence for a fine arts exhibit which carries a cash prize of $3,000 and a trophy.
The other special awards are: The Marjorie Blackman Award of Excellence for a craft exhibit which takes the formofa $3,000cash prize and a trophy and The Karl Broodhagen Award, awarded to the most outstanding gold awarded sculpture or 3-dimensional piece of work in the area of Fine Art or Craft. The Percé Tappin Award of Excellence for a photography entry will not be awarded this year.
Participants also have a chance to gain one of the new special awards this year such as the Prime Minister’s Awardfor the Best Original Entry in NIFCA Visual Arts and the 50th Anniversary of NIFCA Award.
The former, comprising a cash award of $3,500 and a trophy, will recognize significant creativity and innovation in a NIFCA entry that challenges established norms in the artform. The latter has a cash prize of $2 000 and a trophy and may be awarded to the Most Outstanding Presentation in the NIFCA Visual Arts 2023.
Additionally, two entrants have the chance to win two scholarships valued at $3 000 each to the Barbados Community College to pursuetraining in the Associate Degree programme in Visual Arts.
In this NIFCA golden jubilee, and in commemoration of the 160th Anniversary of the Barbados Landship,participants in each discipline have the chance to be considered for the $2,000 cash award being offered for any entry that effectively illustrates any aspect of the institution’s history, activities, or its legacy.
There is also the $15,000 Business Entrepreneur Prize to recognise works that demonstrate entrepreneurial value. It is offered across all disciplines to a gold awarded adult fine artist/artisan/photographer or group with a collection of winning entries that can be reproduced for mass sale. (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.