GREETINGS! There perhaps should be a scholarly introduction to tell you of the origins of Trinidad & Tobago Carnival, and an attempt to convince you through statistics of the relevance of supporting the idea I am about to propose; but sorry, there will be none.

The idea I am about to propose is not an original idea from myself, but rather the view of traditional masqueraders of Trinidad and Tobago Carnival who have asked me to articulate this position on their behalves.

I have been provided with the essence of the idea and I have been given the liberty to embellish it as I see fit.

Let’s begin with something that most of us don’t like to deal with : DISCONTENT.


There are several areas of this discontentment.

One of these is definition and perception of the Traditonal Masquerade Performer.

Some Masquerade performers believe that the Carnival authorities and Carnival bands associations perceive of them as a side item ,poor, dependent on handouts, worthy for only certain types of shows and performances and definitely not worth the  respect and financial renumeration of the contemporary and so called ‘big bands and mas revellers ‘

Those who hold this belief cite openings of International stature where the contemporary mas reveller is given preference and highlighted above and beyond traditional Trinidad and Tobago Masquerade. They claim that producers of this category of Carnival presentation are the ones who are paid $Millions to produce and choreograph shows intended to highlight the diversity and beauty of Trinidad and Tobago Carnival. What of them? They become items in a production.

They believe that it is high time that those who have laboured to create a multi-billion dollar industry that has spawned and generated more than thirty Trinidad and Tobago type Carnivals should be included as co-equals with contemporary mas’ producers on the production and management teams producing and choreographing for such production/presentations.

They feel entitled to the wealth that they have helped generate.

Many of them point to the inequities re. renumeration for their participation in the many days of Carnival in which they are called upon to contribute and participate. Many of them point out that they are called upon to launch several regional Carnival events and activies for ‘ small change ‘.Meanwhile conventional and contemporary mas’ producers are not called upon to make this commitment.

There are several other issues of DISCONTENT.

The issue is ,that some of these Traditional Masqueraders of Trinidad & Tobago Carnival are now recommending and calling for a building and specially designed structure to act as MUSEUM and display and sales CENTER for their masquerades.

Some Traditional Masquerade Perfomers Of Trinidad & Tobago Carnival point out that the ‘ HOMES ‘ and traditonal production centers of this arena of Carnival is more often than not located and situated in areas that are now considerd ‘ High risk crime areas ‘ and are most times not easily accessible to tourists.

They claim that a building of the type they are suggesting would help to bring their product and talent to an accessible, comfortable and ‘safe ‘ arena for the tourists.

There are other  ideas which I intend to feature in another article,but for now chew on this .

All visitors to this site are encouraged to comment to this and other articles posted here. Any one with the influence to make this ‘dream’ realisable can leave their contact information so together we can pursue this vision.



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