Once a Trini reach in yuh Fete is Nicencess! Examining Fetes as the driver for carnival innovation, through an analysis of its aesthetic and non-aesth
Lead Research Organisation:
University of Leeds
Department Name: Sch of Performance & Cultural Industries
Abstract
The Trinidad Carnival and Trinidad-style carnivals remain a popular festival attracting thousands
to millions of participants. According to Trinidad's Central Statistical Office, with a population of
about 1.4 million people, the festival continues to attract close to 40,000 visitors each year. Both
the Notting Hill carnival and the Toronto Caribbean Carnival attract an estimated 1 million people
each. As Nurse puts it, it is arguably "the most replicated carnival in the globe, with replicas in
diaspora communities like New York, London, Toronto and Leeds" (Nurse, 2004 p.246). For
decades, carnival in Trinidad and Tobago was defined as built around three pillars: Calypso,
Steelpan and the Masquerade. As a result of this, the government agency in Trinidad responsible
for carnival, the National Carnival Commission, grants a subsidy to the organisations
representing those three entities each carnival. Fetes in the carnival are the party events that
take place throughout the entire carnival season usually starting just after Christmas and
culminating before Ash Wednesday. For Trinidad style carnivals, fetes take on a variety of
formats, such as a boat cruise or a "cooler" fete, i.e. bring your own booze. They are typically
held outdoors and would include the main stage for any performances from an artist or DJ, a
dance space, bar and food areas, as well as for any other activities. It can be argued that they
are currently the festival's most popular element in recent times, growing into a sub-industry and
the larger carnival culture. It is, however, a sector that is often overlooked by the practitioners
and researchers of the other pillars as some view it as only commercial ventures that
diminishes the historical and traditional aspects of our carnival. In its quest to be
ground-breaking, the research proposed will investigate fetes for consideration as the fourth
pillar of carnival, in both industry and performance, generating meanings for its participants
and the carnival culture of Trinidad and Tobago. The examination of the fete as an industry
will investigate the industrial organisation of its positioning as carnival's fourth pillar, officially
or unofficially, and the implications for carnival's three traditional pillars. Exploration of the
"performance of the fete" will focus on the aesthetics of its setting, artistry and representation
2
in person and on digital and social media. It will also examine how this space has and
continues to be a site for resistance and socio-political tension. The overall aim is to
investigate beyond assumptions of its commercial success, the significance of how and why
this sector is transforming our carnival landscape, and what learning lessons, good or bad,
can be used to bring positive change to the entire festival globally. Moreso, in the absence
of festivals and places that allow this form of play, due to the COVID pandemic, the value of
such events in society is important to assess.
to millions of participants. According to Trinidad's Central Statistical Office, with a population of
about 1.4 million people, the festival continues to attract close to 40,000 visitors each year. Both
the Notting Hill carnival and the Toronto Caribbean Carnival attract an estimated 1 million people
each. As Nurse puts it, it is arguably "the most replicated carnival in the globe, with replicas in
diaspora communities like New York, London, Toronto and Leeds" (Nurse, 2004 p.246). For
decades, carnival in Trinidad and Tobago was defined as built around three pillars: Calypso,
Steelpan and the Masquerade. As a result of this, the government agency in Trinidad responsible
for carnival, the National Carnival Commission, grants a subsidy to the organisations
representing those three entities each carnival. Fetes in the carnival are the party events that
take place throughout the entire carnival season usually starting just after Christmas and
culminating before Ash Wednesday. For Trinidad style carnivals, fetes take on a variety of
formats, such as a boat cruise or a "cooler" fete, i.e. bring your own booze. They are typically
held outdoors and would include the main stage for any performances from an artist or DJ, a
dance space, bar and food areas, as well as for any other activities. It can be argued that they
are currently the festival's most popular element in recent times, growing into a sub-industry and
the larger carnival culture. It is, however, a sector that is often overlooked by the practitioners
and researchers of the other pillars as some view it as only commercial ventures that
diminishes the historical and traditional aspects of our carnival. In its quest to be
ground-breaking, the research proposed will investigate fetes for consideration as the fourth
pillar of carnival, in both industry and performance, generating meanings for its participants
and the carnival culture of Trinidad and Tobago. The examination of the fete as an industry
will investigate the industrial organisation of its positioning as carnival's fourth pillar, officially
or unofficially, and the implications for carnival's three traditional pillars. Exploration of the
"performance of the fete" will focus on the aesthetics of its setting, artistry and representation
2
in person and on digital and social media. It will also examine how this space has and
continues to be a site for resistance and socio-political tension. The overall aim is to
investigate beyond assumptions of its commercial success, the significance of how and why
this sector is transforming our carnival landscape, and what learning lessons, good or bad,
can be used to bring positive change to the entire festival globally. Moreso, in the absence
of festivals and places that allow this form of play, due to the COVID pandemic, the value of
such events in society is important to assess.
