Analysis needed on virtual Carnival experience

THE EDITOR: This is the third year that Nesta “Sekon Sta” Boxhill and his team have organised their “fetecert” (tele concert). Once again, though we may have missed a golden opportunity to assist the popular Arts, which are an integral part of our economy.

What has happened? Current discussion about Sekon Sunday revolves around whether any public health protocols were breached. Clearly that is very important as we continue to live with the pandemic.

But what about the content of the event itself? Commentary was limited. One report/critique that I saw in the print media was headlined “First-class show at Sekon Sunday” written by Newsday’s Melissa Doughty (January 12).

Jules Sobion of Caesars Army called Sekon Sunday “iconic,” as he spoke on a television station's news broadcast. Rubadiri Victor, during the same TV programme, made a reference when he alluded to a telegenic performance, which falls into what I know as “the experience economy.”

Victor upbraided the NCC, which he said seeks to be a promoter rather than a facilitator. I agree with his approach and his call for events which are telegenic. Telegenic meaning “well-suited to the medium of television; especially: having an appearance and manner that are markedly attractive to television viewers”. However, was Sekon Sunday telegenic enough?

Two years ago, I wrote an article: Carnival, Calypso and the Experience Economy, which was published in the newspapers. I am seeing the word “experience” appearing in advertisements for these virtual events. But I am still worried.

Please don’t get me wrong, because while the show was bold in its concept it robbed itself of being a lasting experience. For example, there was cursory respect given to the Midnight Robber who could have been used as an element to bind the show together.

Likewise, too little consideration was given to the dance, which had the same old Best Village choreography. The other dance, Hmm. The less that could be said about pan, the better.

The unkindest cut of all is that while Sekon Sta sang some his late father Merchant’s calypsoes, they were not given an attractive introduction. I don’t know how Sekon Sta made out in his earlier shows.

In addition, there was no humour and the artistes from Naila Blackman on just went mainly along the festival route. So that you did not get the feel that the planning for the show was tight enough.

I go further to state that commentary on Sekon Sta’s Second Sunday, should have been a guide for analysis and criticism, not just public relations for other virtual performances. There was no critique of “Crackers and Cheese, A 21st Century Calypso Tent Experience” which was broadcast via a radio station, and included Panorama champs Desperadoes Steel Orchestra, Stacey Sobers and several other young calypsonians. In fact, there have been no analyses of that radio station's virtual productions.

Next up, there is the continuation of "Iwer" George’s Iwer Stage series, then there is Erphaan Alves’ E Day (Carnival week), Patrice Roberts’ “Strength of a Woman” (Carnival Thursday), Nadia Batson’s Art form, Voice’s “Cavanal”, called Soca for Love (Carnival Sunday).

And then, there will be virtual fetes including Soka in Moka onJanuary 17, and Holy Name Convent's "cooler party experience” called Flight of the Virtual Phoenix for January 24.

When or where will there be analysis? How shall we grow? The time is growing shorter for TT to start pooling its collective knowledge and help guide the popular Arts toward a more viable future.

AIYEGORO OME

Port of Spain