Ironically enough, those who have been critical of Minshall’s decision to depict the slow death of the civilisation in a kind of funeral gown on stilts were adjudged to have had superior portrayals.
Even after ten years of being out of Carnival competitions and designing mas, Peter Minshall and his designs show the capacity to ignite controversy.
The suspicion must be that notwithstanding having said nothing this year to get his competing colleagues going, in sotto voce “Minch" is perhaps relishing the controversy surrounding his King of Carnival design even more than if his Dying Swan, Ras Nijinsky in Drag as Pavlova had won the competition.
Perhaps through the controversy, Minshall has achieved his long-stated objective of attracting greater public attention to what his designs are seeking to say about society. Further, the controversy assists him to make his point that the street theatre must say something and not be a stage for colourful but empty (no pun intended) costuming.
Ironically enough, those who have been critical of Minshall’s decision to depict the slow death of the civilisation in a kind of funeral gown on stilts were adjudged to have had superior portrayals.
Yet they have complained bitterly about his Moko Jumbie and the colourless nature of it.
Astonishingly too, imbedded and indeed stated in the criticism of Minshall’s portrayal is the claim that because of what the critics may consider a poor portrayal “that is why the stands are empty.” The insinuation being that Minshall’s designs have chased the crowds away.
Clearly, competition makes individuals get carried away with their criticisms because the reality has been that Peter Minshall has not designed and brought a band to the streets and savannah stage for over a decade.
Moreover, the attempt to associate Minshall with the decline in attendance to the Carnival is quite misplaced. When Minshall was regularly designing bands, thousands of spectators remained in the Grand Stand till late in the evening to witness his portrayals and elaborate presentations. And why did they stay back in the Grand and North Stands? Because “Minshall coming.”
Thankfully, though, the masquerader who actually displayed the winning costume was quoted as having said that “it takes all kinds to make up the pot.”
Such an appreciation for variety in costume design ensures that the mas-loving people of T&T can celebrate the elaborately designed and wonderfully coloured winning costume “Psychedelic Nightmares.”
There is need too, when contemplating criticisms, the fact that Carnival was created by controversial circumstances and is being constantly renewed through contention about every possible aspect of the mas.
And for certain, over the weekend and the two days of Carnival, Monday and Tuesday, there will be other controversies relating to almost every aspect of the festival.
Fortunately though, and this speaks for the resilience of Carnival to remain controversial and alive, the festival will proceed on its course unharmed by the contention.
In that spirit therefore, before today, Carnival Friday, is done, lovers of the festival will have participated in what has come to be the first major element of the street theatre, the re-enactment of the Canboulay Riots. So too would the participants in Carnival have experienced the display of traditional mas characters in the city, among them, the Dame Lorraine, black and blue devils, the steely Midnight Robber, plenty bluff and gambage, and the special Dragon Dance in the heart of Old Port-of-Spain, the crucible of the Carnival.
Tonight, a seemingly re-constructed Soca Monarch will take hold of the prancing and dancing community and on Saturday night, pan lovers will listen, and argue after hearing the greatest steelbands in the world perform.
Dimanche Gras and its calypso offerings and J’Ouvert morning will open the doors to the “Greatest Show on Earth.” And soon enough, all the contentions would have subsided for another year.