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come celebrate 

our 

golden jubilee

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6 

I had not yet arrived at my twentieth birthday when 

Carnival started in Antigua in 1957. My peers and 

I were extremely excited about the fact that Antigua 

was going to have a Carnival like the larger countries 

such as Trinidad. Many of the folks from the larger 

islands reminded us, at every opportunity that we 

were from the smaller islands. The notion of having a 

Carnival like Trinidad gave us a sense of importance. 

We felt we had arrived. 

The schools and community groups took part in 

Carnival in the early days of the festival. There was 

intense competition to see who could reproduce the 

most authentic historical characters. The Steel Bands 

formed the backbone of the festival but we had very 

few Calypsonians. Hence, a number had to be 

imported from Trinidad. 

A warm welcome to all our visitors, friends and 

returning nationals to Antigua for this our Golden 

Jubilee celebration of the “Caribbean’s Greatest 

Summer Festival — Antigua’s Carnival. 

The 50th Anniversary of Carnival is of great 

significance to the preservation of culture in Antigua, 

especially coming on the heels of the commemoration 

of the 200th Anniversary of the abolition of the British 

Empire Atlantic Slave Trade, when we remember the 

struggles and accomplishments of our forefathers. 

During these weeks of celebrating the music, mas 

and fantasy that have made our summer festival the 

yardstick by which all other summer festivals in the 

eastern Caribbean are measured, we honour those 

who have given unselfishly to the development of 

Mas 

Music 

F a n t a s y 

HIS EXCELLENCY THE GOVERNOR GENERAL 

SIR JAMES B. CARLISLE GCMG, KGN, GCQS, KStJ 

PRIME MINISTER 

HON. W. BALDWIN SPENCER 

messages 

It wasn’t long before our Steel Bands and Calypsonians 

held their own with the best that Trinidad could offer. 

Perhaps the biggest noticeable change is the vulgarity 

which characterises today’s Festival. Our Carnival 

was meant to celebrate our Emancipation which took 

place on 1st August, 1834. Since then, our country has 

advanced to the point where our Colonial Masters felt 

that we could run our own affairs. It would indeed be 

a wonderful thing if the 50th Anniversary of Carnival 

would reflect the achievements of our country. If this 

is the focus in future years then our young people 

would get a better understanding of who they really 

are. They would then seek to emulate the men and 

women who have made Antigua and Barbuda what 

it is today. 

Carnival. We salute the founding men and women of 

mas, steelband, calypso and pageants. 

We also salute our many benefactors and the scores 

of contestants who have graced the Carnival stage in 

the true spirit of promoting and preserving our culture 

and exhibiting the remarkable craftsmanship of our 

people. You deserve our highest commendation. 

On behalf of the government of Antigua and Barbuda 

I wish all revelers, mas builders, contestants and 

organizers a fun filled and safe Golden Jubilee 

celebration. May we all experience the vibrancy, 

passion and excitement that is Antigua’s Carnival. Let 

us all celebrate in peace and harmony. 

Happy Carnival!

STEADROY C.O. BENJAMIN, M.P. 

LEADER OF THE OPPOSITION 

Carnival 2007 closes the first chapter of this National 

social event which has been tagged, the Caribbean’s 

most popular Summer Festival. Most naturally and 

logically, this important milestone must be a time for 

reflection. The question that begs the obvious answer 

is, how has the first half century of this cultural activity 

benefited the people of Antigua and Barbuda? 

Carnival, we are told, is a time for celebrating our 

emancipation from slavery; but is this fact really true? 

If not, why not? 

During this period of growth and development, it is 

quite evident that much has changed. I am honest 

when I state that every aspect of Carnival activity and 

inter-action among nationals, residents and visitors to 

the State alike has changed for the better. 

MINISTER OF TOURISM, CIVIL AVIATION 

CULTURE AND THE ENVIRONMENT WITH 

RESPONSIBILITY FOR CARNIVAL 

HON. HAROLD E. LOVELL 

From its humble beginnings in 1957, Carnival has 

remained a time when we embrace our culture, our 

heritage, our arts and most importantly our freedoms. 

Our Carnival encompasses who we are, as Antiguans 

and Barbudans. Whether we live at home or abroad 

we feel it in the air, before it arrives. And during the 

last week in July to the first week in August, we revel 

in the music, mas and fantasy affectionately known as 

“The Caribbean’s Greatest Summer Festival”. 

On the first Monday in August, just as in 1834 when our 

ancestors took to the streets to celebrate their first day 

of freedom, we too take to the streets of St. John’s to 

celebrate our release from modern day restrictions. 

I 


our 

golden jubilee 

As a people and Nation, there is much more uniting 

us than that which divides us. We have regularly 

demonstrated that, when put to the test, we can work 

together to lift up the Flag of this Nation. I implore you, 

my fellow patriots, at this time, let us come together 

to build upon the foundation of the past 50 years and 

leave for our successors, a festival that truly reflects 

the best of what we are as a people and Nation and 

what we have to offer in the field of culture, talent and 

artistry. 

I offer warmest congratulations to the CDC and all 

Carnival revelers. Sincerest congratulations on this 

the Golden Jubilee. 

n their glory, formidable john-bulls join emerging blue 

devils in creating a scare at J’Ouvert, as spectators 

“chip” to traditional iron and steel band music mixed 

with now popular jam band sounds. “Kaiso, Sweet 

Kaiso” echoes from lips that acknowledge the clever 

pun of seasoned and novice Calypsonians. 

And whether Talented Teens, Queens of Carnival, 

Calypso Monarchs, Soca Monarchs, Panorama 

Champs or spectators – we pay tribute. 

As Minister responsible for Carnival, I wish for you, 

Antiguans and Barbudans, and all our visitors a 

memorable experience and a safe and enjoyable 50th 

Anniversary of Carnival. 

I invite you to join us as we showcase our festive 

traditions and create new ones.

8 

HON. TREVOR WALKER 

MP FOR BARBUDA 

On behalf of the people of Barbuda, I would like to 

extend my congratulations to the People, and the 

Government of Antigua and Barbuda for allowing the 

continuity of our most important summer festival. I 

am proud that Antiguans and Barbudans home and 

abroad, as well as our visitors and friends have 

encouraged the continuity of Carnival through the 

years, so that today we all can celebrate 50 years of 

its existence. 

Last year we celebrated our 25th Independence 

Anniversary and it is interesting to note that the 

celebration of Carnival preceded our Independence. 

On the occasion of the 50th Jubilee Celebrations of 

Antigua and Barbuda’s Carnival 

As Minister of State, with responsibility for Culture, 

and a member of the Carnival Development 

Committee 2007, I find it a special honour to 

offer heartiest congratulations to the nation on its 

celebration of this cultural and festive milestone in 

our history – 50 years of Carnival. 

Fifty years, by any stretch of the imagination is a 

long time. For Carnival to have survived this long, 

is a testimony of the hard work, sacrifices and 

perseverance of those responsible throughout the 

years. 

Carnival is now an institution. While having to face 

many challenges, Antigua & Barbuda’s Carnival has 

managed to hold on to the title as ‘the Caribbean’s 

most colourful summer festival’; a title well 

deserved. 

Mas 

Music 

F a n t a s y 

messages 

That to me has great significance and shows how 

much of our history Carnival has captured. 

We have done well when we incorporated our history 

with our tourism product to offer something unique 

and intriguing to the world. 

In closing, dedication, creativity, time, and patriotism 

have made Carnival grow to become a world 

recognized festival. 

On behalf of the people of Barbuda let us celebrate 

the 50th Anniversary of Carnival as one nation. 

HON. ELESTON ADAMS 

MINISTER OF CULTURE IN THE MINISTRY OF TOURISM, CULTURE, 

CIVIL AVIATION AND THE ENVIRONMENT 

This annual summer festival brings to light the 

many creative talents and skills of our people. 

The kaleidoscope of colours, the festivity, the gay 

abandonment, the mixing and mingling of peoples 

from all walks of life and from all different races 

and cultures is always a sight to behold; one 

which continues to leave the bystander or visitor 

breathless and in awe, often times causing our 

visitors to express the desire of not wanting to go 

home, forcing them to return again and again. 

The many areas of culture that are highlighted during 

the celebrations, speak to the dynamism of our 

people, their heritage and survival from the colonial 

past. The pulsating rhythm of the steel pans and 

drums, the booming of the hi-fis and brass bands 

mingling with the ‘spirits’ of the islands, give rise to 

the musical frenzy which captivates and captures 

mas players and even on-lookers. God Bless.

Dear Fellow Citizens, 

LADY LOUISE LAKE-TACK 

INCOMING GOVERNOR GENERAL 

As we celebrate the 50th anniversary of Carnival, it 

is a distinct honour for me to extend a warm hand 

of friendship, love and unity to every citizen and 

resident of our beloved nation, and to also welcome 

all the visitors to our shores. 

This year, Carnival has indeed reached a cultural 

milestone, and the scope and standard of 

achievements by those who have contributed and 

participated over the years to make the festival 

successful, must be recognized and celebrated. 

It is indeed a great honor to have the opportunity 

to welcome you to not just another Carnival 

Celebration. 

I am most certain that the synergies formed and 

the energies that have been invested into what has 

gained its rightful name as the Caribbean Greatest 

Festival will indeed live up to its name and be the 

Best Carnival ever. 

This year, you will for the first time experience 

eighteen days of Music, Mas and Fantasy and while 

we fete, celebrate and make merriment, it is important 

to stop and reflect on our past and appreciate and 

thank those who paved the way, the foundation we 

have built upon; the organizers, the Mas players, 

the steel pan players, the calypsonians, I salute you 

and say, this nation is proud of you. 


our 

golden jubilee 

With the situation of crime slowly creeping up on 

our national doorstep, it is my fervent wish that we 

become our brother’s keeper and work assiduously 

to put an end to this unwelcome evil. 

As the incoming Governor General, I wish you all 

a most enjoyable, safe and unforgettable Golden 

Jubilee Carnival 2007. 

God Bless 

MR. VAUGHN WALTER 

CO-ORDINATOR OF CARNIVAL 

It is my hope that those whom the baton will be 

passed onto will see the need for the creation for 

the Carnival Museum and Hall of Fame. 

Let me take this opportunity to say a very special 

welcome to the visitors and returning nationals. 

I urge you to take the time in experiencing not just 

the Carnival, but the beach, our food and the best 

hospitality you can ever find. 

Over the years I have been saying to you “you ha 

fu come man you ha fu come”. Now that you have 

arrived I say thank you and enjoy the Best of our 

Carnival.

10 

Tizzy does a fantastic job of capturing the emotions 

Carnival evokes in this year’s My Carnival, when she 

says: “I love to see my country, in the last week of 

July. I love to feel the energy and I love to feel the 

vibe. I love to see the children; I love the way it feels. 

It’s like a picture painted perfect portrayed right out 

my dreams ...” 

Carnival is the time of year when creativity blooms 

in mass proportions. Pageant contestants go through 

their paces; calypsonians, their songwriters, the 

arrangers and the musicians capture the mood of 

the country in song; the steel bands work magic in 

the pan yard; mas’ builders take their concepts from 

their heads to the paper to the theatre on the streets; 

the jam bands provide the infectious rhythms that will 

become indelibly intertwined with treasured memories; 

and the masses revel in the gaiety and splendour of 

it all. Without a doubt, Antigua’s Carnival is a special 

event on the country’s calendar. 

This year, we are celebrating our fiftieth anniversary 

– the Golden Jubilee – and it is an honour and a 

privilege for me to be the Chairman of the Carnival 

Development Committee (CDC) as we mark the 

milestone. 

That we would have gotten to this point is a given. 

Once inaugurated, there was, I am certain, an 

unspoken pact that Antigua would celebrate Carnival 

into perpetuity. As man holds no power over the 

passage of time, equally important in arriving at the 

half-century mark is how we arrive at the destination. 

If Carnival were a woman, she would be a wise, regal, 

Mas 

Music 

F a n t a s y 

CHAIRMAN OF THE CARNIVAL DEVELOPMENT COMMITTEE 

MR. NEIL COCHRANE 

messages 

grand dame. Antigua’s Carnival has boasted of being 

the greatest summer festival, setting the 

standard for others to follow. It has been the platform 

upon which many of the island’s most celebrated 

artistes perfected their craft and became legends, 

winners and household names. 

Carnival has kept us up late at nights, to see and hear 

what would be released; on the edge of our seats, 

to see who would be crowned; and she’s helped to 

put this county on the map, for the artistry and the 

revelry. 

There have been good times and there have been 

lessons. We can boast of having held pride of place 

and of regaining ground as we work collectively to 

reach the summit again. 

I salute all of the people who make the event happen 

annually – from the enterprising participants, to the 

respective committees that are manned by dedicated 

volunteers, to the hardworking people whose 

substantive job it is to look after the festival, to the 

spectators who fill the stands, line the streets and spur 

the artistes on, to the sponsors whose commitments 

are Carnival’s backbone. 

On the occasion of our fiftieth anniversary, I would 

also like to take a moment to salute the pioneers on 

whose shoulders we stand and whose visions have 

been entrusted to us. 

To transplanted Antiguans and other visitors here for 

the Golden Jubilee celebrations, welcome. To each 

and every one, have an enjoyable and safe Carnival.

AD 

ABBOTTS 

JEWELLERY

12 

by Tracelyn A. Cornelius 

Although the 

year 1957 was 

the official 

beginning of 

carnival, there was 

a very effective 

carnival celebration 

in 1953, which was 

organized to 

commemorate the 

ascension to the 

throne of her majesty, 

Queen Elizabeth II. 

Mas 

Music 

F a n t a s y 

Antigua’s Carnival is a stunning 

spectacle of mas, music and revelry, 

which is a celebration of the island’s 

local culture and its historic past, 

showcased in a blend of modern 

rhythms and African traditions, 

embodying the energy of the people. 

In recognizing a half century of 

existence, it would be amiss not to 

expound on the birth of this jubilant 

season, where the hardships of 

living are left behind as the nation 

celebrates life and freedom. 

Antigua’s Carnival has quite a 

unique history and while the idea of 

freedom is implicit in the celebration, there were a 

number of other factors surrounding the manifestation of the event. 

Indeed, it was the Coronation of Queen Elizabeth 

II on June 3rd 1953, which provided the 

inspiration for the annual festival in Antigua. 

Back then, Antigua and Barbuda was still 

a colony of Great Britain and was among a 

few other islands that organized a Carnival to 

commemorate the event. 

A committee of noted personalities led by the 

Chairman of the Tourist Board, the 

late Sir John Ferdinand Shoul, 

organized the celebration that saw 

many local spectators lining the 

streets of St. John’s, transfixed, as 

they watched the kaleidoscope of 

colourful artistic floats, groups and 

troupes and listened and danced 

to the sweet sounds of brass and 

steelband music. 

The vibrant splendour of 

the coronation left quite an impression on 

the people and quickened the desire for 

the island’s very own annual festival. Prior 

to the official Carnival in 1957, individuals 

from the Point Community were already 

celebrating a Carnival like festival during 

the Christmas season, where the moco 

jumbies, masqueraders, clowns and 

the John Bulls took center stage, while 

the Iron and Steel bands accompanied 

the revellers. What’s more, the leaders 

of the combined steel and brass bands, who visited neighbouring 

St. Thomas to play for their annual festival, saw the need to create a 

similar event in Antigua. 

Selvyn Walter 

According to local author, historian and former Minister 

of Carnival, Selvyn Walter, “some members of the 

Hell’s Gate Steel Orchestra discussed the idea 

with the late Howell Ambrose, who was a musician 

and owner of the Ambrose Variety Band.” Howell 

Ambrose agreed with the concept, but realizing 

that they would not have the necessary financial 

resources to carry out such a gargantuan task, he 

personally contacted a local businessman, the late

Maurice Michael. So impressed 

was he with the venture that he 

discussed the idea with Ferdinand 

Shoul, who had managed to pull off 

the Queen’s Coronation Carnival 

three years earlier. 

And so in 1956, Howell 

Ambrose, Ferdinand 

Shoul, Maurice 

Michael and a few 

of the committee 

members, who were 

involved in the Queen’s 

Coronation Carnival, as 

well as the late Sir Vere 

Cornwall Bird, who was 

Chief Minister of Antigua 

and Barbuda at the time, 

and the late Oscar Mason, 

a well known musician, and 

others, commenced further 

discussions for the grand festival in 

1957. 

“ today, children are 

born into Carnival, but 

the founding fathers 

had to travel from 

village to village to 

the various councils, 

explaining the 

rationale behind the 

celebrations until they 

eventually garnered 

a reasonable amount 

of support from the 

people.” 

The meeting to initiate preparations 

for the event was held in 1956 at 

the Deluxe Cinema. And, although, 

there is no complete record of the 

attendees, it is widely believed that 

Sir John F. Shoul, Howell Ambrose, 

Maurice Michael, the late Edie Hill 

Thibou, Ruth Ambrose, the late 

Joe Fernandez, the late Novelle 

Richards, the late Clarence 

Johnson and the late Phillip 

Labadie were among the list of 

persons invited to the meeting. 

The group felt that Shoul being 

a member of the Tourist Board 

would have more clout in getting 

the government to authorize the 

festival, as well as source finances 

to stage the event. He had the 

arduous task of convincing the 

authorities that hosting the festival 

would provide the 

means of encouraging 

not only Antiguans in 

the diaspora to return 

home, but attracting 

tourists to the island 

during the slow 

months as well. 

Although sugar 

production was on 

a steady decline, 

the planters, 

who still maintained a large 

degree of political influence, were 

concerned that the celebrations 

would affect the crop. The Sugar 

Barons felt that holding a Carnival 

just prior to the end of the season 

would disrupt production and incur 

serious losses to the industry. 

Shoul had to assure them that 

the sugar crop would not be 

jeopardized in any way. 

Maurice Michael 

After several meetings with 

government officials and the 

late Alexander Moody-Stuart, 

who was the general manager 

of the Antigua Sugar Factory 

and his colleagues, Shoul was 

able to persuade them that if the 

Tuesday after August Monday 

(Emancipation Day) was declared 

a public holiday, it would be an 

incentive for the workers to reap 

the crop early. 

Here lies the reasoning behind 

the three-fold purpose of 

initiating the official Carnival in 

1957: (1) a sort of ‘crop over’ 

celebration, representing a midyear 

break after a hard six months 

of work in the sugar cane fields 

(2) the commemoration of the 

emancipation of slavery and (3) 

an attraction to induce visitors to 

Antigua. 

Today, Carnival is anticipated with 

much zeal, but back then, the 

interim committee had to sell the 

idea to the people. As one of the 

early pioneers of the festival Dame 

Yvonne Maginley tells it, “today, 

children are born into Carnival, but 

the founding fathers had to travel 

from village to village to the various 

councils, explaining the rationale 

behind the celebrations until they 

eventually garnered a reasonable 

amount of support from the people.” 

Financing the festival seemed to 

be an insurmountable challenge 

and many of the pioneer members 

of the Carnival Committee claimed 

to have borrowed thousands of 

dollars from the local banks to get 

the first official Carnival off the 

ground. Additional research also 

reveals, that Maurice Michael was 

instrumental in securing some of 

the finances, while Oscar Mason 

also assisted by organizing weekly 

‘Brams’ (dances) at Michael’s 

Mount to raise money. 

By early 1957, most of the 

challenges surrounding the event 

were sorted out and a meeting 

was held at Princess Elizabeth 

Hall, (located where the national 

Archives building now stands) 

where the inaugural Carnival 

committee and sub-committees 

were elected. 

The then Minister of Social 

Services, the late Hon. Edmund 

Lake, convened the meeting, where 

Shoul was elected as the first 

Carnival Committee Chairman. The 

elected subcommittee chairpersons 

were the late Rita Anjo (Queen’s 

Committee) Dame Yvonne 

Maginley (Children’s Carnival) 

and the late George Martin 

(Calypso Competition). Other 

active members included Novelle 

Richards, Phillip Labadie, Gilbert 

“Big U” George, Ruth Ambrose, 

Joseph Robinson, Basil Breton and 

Edie Hill Thibou. 


our 

continued on p14 

golden jubilee

14 

The Origins 

of Carnival- cont. 

The first Carnival was a miniature 

version of what the festival is 

today. Whereas today, Carnival 

embraces a series of unforgettable 

days and nights filled with various 

parties and shows, ranging from 

music competitions to several 

pageants, fifty years ago, the only 

competitions were the Queen and 

Calypso Shows held at the Deluxe 

Cinema. These were followed 

by a parade which featured a 

number of brightly coloured and 

attractive floats sponsored by 

the business community. Even 

though the creativity and style of 

the troupes and groups presented 

a magnificent medley of colours 

that was a sight to behold, it was 

nothing to compare with what is 

displayed today. 

Indeed, Carnival 

has evolved 

into a frolicking, 

financially viable, 

merry-making 

annual event, 

more glamorous 

and exciting 

each year. 

The birth of Antigua’s Carnival 

would not have been possible 

without the dedicated work of a 

group of good spirited citizens, 

who whether directly of indirectly 

contributed toward its success. 

Among the names that should 

be recognized, respected and 

remembered are Gilbert “Big U” 

George and Phillip Labadie, who 

were outstanding workers. The 

late Hilson Murdoch, Jasper 

“Bobby” Scotland, the late Dr. Joe 

Robinson, and the late Kenrick 

Tully, were members of the 

committee for years. 

Mas 

Music 

F a n t a s y 

The contributions of the late Jill 

Walker, who designed the first 

Carnival stage and Amos Morrell, 

who continued where she left off, 

must always be remembered. St. 

Clair Baston of the Public Works 

Department, who built the first 

stage at the Recreation grounds, 

Pat Starr whose idea it was to 

introduce Carnival City, and her 

husband Ogden Starr must never 

be forgotten. The late Denfield 

Hurst was considered by many to 

have been one of the most effective 

financial comptrollers. 

Dame Yvonne 

Maginley chaired 

the Queens 

Committee for 

many years 

along with the 

assistance of Lady 

Marie Shoul, Ruth 

Ambrose, Myrna 

Kelsick and Judy 

Johnson, among 

others. Many people 

are unaware that 

Wilkin Griffith was the only male 

to chair the queens committee. 

Gwen Tonge and Edie Hill-Thibou 

coordinated the Children’s Carnival 

for many years in addition to 

assisting in many other areas of the 

festival. 

And, where would Calypso in 

Antigua and Barbuda be today, 

without the sterling contributions of 

the late George Martin and Julius 

Marcus Christopher, who also 

played a major role in the overall 

development of calypso and mas. 

Hon. Emmanuel Lake served in 

many capacities as well as St. 

Clair Allen, Morella Wilson, Sam 

Benjamin, Reginald Knight, Lounel 

Stevens, Gerald Price, Frank 

Agard, Thousand (the blacksmith), 

Reginald Cornelius, Len Ablack 

of Trinidad and Tobago, Clarence 

and Helen Johnson, George 

Kelsick, Reginald Samuel and 

Edward T. Henry. Ralph Murphy 

got the troupes and groups 

on the road for many years. 

Maurice Michael, who started 

the first Jaycees Chapter on the 

island, introduced the Jaycees 

Queen Show, adding a sought 

of regional flare to the Carnival 

celebration. 

Dame Yvonne Maginley 

Many others have made their mark 

on the celebration over the years 

and special mention must also 

be made of Selvyn Walter, who 

introduced the Teenage Pageant 

competition in the early seventies 

and is also the founder of the 

Halcyon Steel Orchestra. 

Indeed, Carnival has evolved 

into a frolicking, financially viable, 

merry-making annual event, more 

glamorous and exciting each year 

with the quality of the competitions, 

parades and shows, as 

well as the spectacular 

cultural and dramatic 

musical events. 

This year, as Antigua 

celebrates the Golden 

Jubilee of this great 

festival, Carnival, it is 

my fervent wish that 

everyone, citizens, 

residents and visitors 

alike, enjoy a 

wonderful and funfilled 

summer festival. 

To all those, who have contributed 

over the years, I am sure that every 

Antiguan and Barbudan will join me 

in saying ‘thank you.’ 

Lord Melody in 1957, 

Antigua's First Road 

March King - Song: 

"Your Crazy, 

Crazy Love"


APUA 

CELLULAR 


our 

golden jubilee

16 

In 1945, Antigua and Barbuda 

experienced a new cultural 

phenomenon, the steelpan, 

which later heralded the steelband 

movement, which was piloted by 

individuals who lived in some 

of the most depressed areas 

on the island. 

In those days, the refineries 

in Curacao offered the best 

opportunities for people from 

Antigua and the other islands in 

terms of employment, so there was 

a steady movement to and from 

both islands by boat which was the 

main source of transportation at the 

time. However, on a return trip to 

Antigua on “Lady Boat,” which was a 

passenger and cargo vessel, a stop 

in Trinidad to refuel was where a 

few Antiguans first heard the sweet 

sounds of the steelpan. They were 

fascinated by both the instrument 

and its sound and vowed to take this 

Mas 

Music 

F a n t a s y 

cultural innovation back to Antigua 

and Barbuda. 

On returning home and reporting the 

good news of what was happening 

in Trinidad musically, a few men 

in the Point area who had earlier 

developed the “iron band” from old 

pieces of iron, scrap metals, hub 

caps, old tin pans and sticks which 

were discarded at the dump site, 

which is now home to the Port, 

decided to begin work on building a 

steelpan. Made from an empty steel 

oil drum, cut off in varying lengths to 

emit a range of tones, the pan is put 

through a process of hammering and 

heating, thus achieving a chromatic 

sound. Busta Carty from the Point 

area, who was very impressed with 

the steelpan and the sound it created, 

Leroy “Jughead” Gordon 

was credited with bringing the first 

pan into Antigua from Trinidad. The 

pans built in Trinidad were more 

advanced than the ones built in 

Antigua, and as the new invention 

in music travelled across the island, 

the race was on to make something 

similar to the ones built in Trinidad. 

At that time, no rubber accompanied 

the sticks that the players used to 

beat the pans with in Antigua, even 

though later on, a ball of rubber 

bands at one end of the stick was 

introduced to beat the notes. 

When the first steelband, Hell’s 

Gate, from the Point area made its 

way uptown one Saturday morning 

playing “My basket, my basket, 

my green and yellow basket,” after 

weeks upon weeks of rehersals 

under the tutelage of arranger, 

Alexander “Alec” Roberts, the 

response was so overwhelming, it 

brought people into St. John’s from 

all around the island to see and hear 

the new phenomenon in music. At 

the time, the instrument was hung 

with a strap around the neck of each 

bandsman thus creating a certain 

type of mobility. This allowed the 

steelband to travel around the town 

with ease. That was the official birth 

of pan and its music into the annals 

of the Antiguan/Barbudan cultural 

experience.

"at that time 

no rubber 

accompanied 

the sticks" 

It was not too long that a second 

steelband, “Red Army” was formed by 

Charles McCarty in the Grays Farm 

area. The band was sensational, 

and to date, has produced one of the 

best pan players ever, a gentleman 

by the name of Walton Herbert. 

Later the same year, “Brute Force,” 

hailing from the South Street (Pig 

Village) area, was formed by Earl 

Jones. The band received wide 

recognition at the time and over the 

years was able to boast of the skills 

and capabilities of Llewellyn Howell, 

known to many as “Welly” and 

the extraordinary pan enthusiast, 

Arthur “Bum” Jardine. These guys 

took Brute Force band to heights 

unimaginable in the steelband 

world. 

All three bands, Hell’s Gate, Red 

Army and Brute Force, coming from 

some of the poorest communities 

on the island, fostered a sense of 

competitiveness and an aggressive 

rivalry that only a competition could 

quell. The rivalry among them was 

so pronounced that a steelband 

competition was planned to establish 

which was the best steelband in 

Antigua and Barbuda. Just before 

the contest, another steelband was 

formed on the sister isle, Barbuda, 

which carried the name of “Golden 

Gate.” 

At the first Steelband competition 

in 1949, which was held at the 

“Girls School,” individuals placed 

bets on their favourite band, and 

the competition fever became very 

explosive. Every band played 

the song, “Peanut Vendor” which 

was the test piece selected for the 

competition. Hell’s Gate with more 

spirited and skilled players emerged 

the winner, with Red Army and Brute 

Force placing second and third 

respectively. 

Right after the competition, the 

people in the Barnes Hill/New 

Winthropes community decided that 

they too should have a steelband 

and before year’s end, “North 

Star” steelband was formed. At 

the time, men like Edric Robinson 

and Samuel Simon (father of Dr. 

Lester Simon) were the movers and 

shakers in the community steelband 

movement. Soon after, the village 

of Pigotts boastfully followed when 

it introduced the “Rising Sun” 

steelband. Rising Sun became very 

popular and had a cast of young 

and talented men, and in 1952, with 

Joshau James as captain, they were 

adjudged Steelband Champions with 

their rendition of “C’est Si Bon.” 

Other steelbands formed during that 

period were Blue Skies, Manpower, 

Sun Valley, Golden West, Lone 

Eagle, Cardica, Duke of Iron, 

Wayward Force, Star Dust, Big Shell 

and Nightingale. 

During the period 1948 to 1959, Brute 

Force as an established steelband, 

played at the Anchorage Hotel and 

the Antigua Pelican Club. They 

made trips to Dominica, Puerto Rico, 

Barbuda, Jamaica and Barbados, 

and it was touted about that Antigua 

steelbands had surpassed those in 

Trinidad and Tobago. Panmen who 

were masters of the art at 

the time were continually 

experimenting with the 

pan, and names like 

Eustace “Manning” 

Henry, Arthur “Bum” 

Jardine, Llewellyn 

“Welly” Howell, Dennis 

“Nunny” Byam, 

Dennis Lashley, 

Cowboy, Bruce 

“Fundo” Bloodman, 

Chisland, Seldon 

Edwards and 

others were 

hailed as 

masters of the 

art. They could 

play any pan from treble, double 

tenor, double second, bass, etc. 

Bruce “Fundo” Bloodman, who has 

since passed on, made such an 

impact in St. Thomas on Hell’s Gate 

first trip there, that many people who 

heard him play, decided to rename 

the double tenor pan – the “Fundo 

pan”. 

In 1952, the first ever all-girls 

steelband, “The Pastel Intruders” 

was formed. The group of young, 

exciting and energetic ladies, 

exhibiting skills on pan on par with 

their male counterparts, won the 

hearts of Antiguans/Barbudans 

and others when they played at 

their first official function in 1953 to 

celebrate the coronation of Queen 

Elizabeth II. The names of the band 

members were Carmen Jardine, the 

Carmichael girls, the Heath girls, 

Mrs. Murray, the Pigotts girls, Dulcie, 

Jean and Audrey. They were tutored 

by Arthur “Bum” Jardine and the late 

Vere Griffith. However, the band did 

not have a long history. 

Hell’s Gate, the leading steelband 

at the time, would be invited to 

play at social functions held at 

the Government House, Clarence 

House, and other places on the 

island. They were assisted by one 

of Antigua’s qualified musicians, the 

late Bertha Higgins, who arranged 

many of the carols and classical 

tunes that they played. It was a 

pleasure to witness a group of young 

men, well attired in their frilled steel 

band shirt and a platted straw hat, 

with their instruments hanging from 

their necks, engaging those who 

loved and appreciated the art form 

continued on p18 


our 

golden jubilee

18 

to dance. It’s reported that many 

individuals in the privileged class 

at the time stayed away from those 

functions as pan and its players did 

not enjoy the level of acceptance 

that they now enjoy today. 

In 1948 Hell’s Gate was invited to 

play at the opening of the Mill Reef 

Club, and when the palm-fringed 

Antigua Beach Hotel opened its 

entertainment package one night 

with the Hell’s Gate steel band, 

natives and tourists alike were 

flabbergasted to see and hear a 

steelband playing in a hotel. In 1950, 

Hell’s Gate performed at the St. 

Peter’s Anglican Church in Parham, 

making it the first steelband to play in 

a church in Antigua and Barbuda. In 

1963, another steelband, South Side 

Symphony, captained by Denley 

Samuel, had the honor of playing 

in the St. John’s Cathedral for a 

Christmas program. This was very 

controversial. The Choir master and 

organist at the time was Mr. Jarvis, 

who was adamant that the Cathedral 

was not the place for a steelband. 

It was Dean Baker who intervened 

and asked Mr. Jarvis to go and listen 

to the steel band. After listening to 

a few of their renditions during a 

practice session, which were mainly 

Christmas carols, Mr. Jarvis was so 

impressed, the way was cleared for 

South Side Symphony to play in the 

St. John’s Cathedral. 

As pan progressed, it was a moment 

in history for all Antiguans and 

Barbudans in 1955, when Antigua 

was hailed as the first place in 

the Caribbean where a steelband 

Mas 

Music 

F a n t a s y 

r e c o r d i n g 

was done. 

The band 

was “Brute 

Force” and 

the name 

of the 

album was 

“ B e a u t y 

and the 

Beast.” Soon after, another 

recording was done. It was entitled, 

“Steelband Clash” featuring Hell’s 

Gate, Brute Force and North Stars 

steelbands. 

Men like Leroy Silston, who was the 

Chairman of the Antigua Carnival 

Steelband Programme for many 

years, and who assisted a number of 

persons in the steelband movement, 

has been credited with “This Land” 

by Intrade Harmonites and “Disco 

Steel” by Halcyon, which are two of 

the more popular recordings done 

by Antigua steelbands. 

In 1958, the Government of Trinidad 

and Tobago invited Hell’s Gate to 

perform in Trinidad. The steelband’s 

performance on tour was rated as 

superb, making the Trinidad panmen 

a little jealous. Even though the 

bands in Trinidad were much bigger, 

the rhythm section of Hell’s Gate was 

much sweeter and the players were 

more exciting to watch on stage. 

The next year, 1959, Brute Force 

was invited to Trinidad and they too 

enjoyed wide exposure when their 

music was played on radio stations 

across Trinidad. Radio Guardian 

used Brute Force’s recording “Under 

the double Eagle” as a ‘sign on’ and 

‘sign off’ song. 

In 1960, the first steelband from 

Trinidad, “Pan Am North Stars” 

performed in Antigua at the Antigua 

Recreation Ground. The event 

was not properly advertised and a 

disappointing small crowd showed 

up. The band played a variety of 

songs and it was quite evident that 

the crowd did not appreciate their 

version of calypso music. The 

rhythm was not what was expected. 

Also in 1960, when the late Sir 

Winston Churchill visited Antigua 

aboard the Yacht “Christina” owned 

by the Greek tycoon Ari Onassis, 

Hell’s Gate steelband provided 

the entertainment on board the 

yacht that was docked at Nelson’s 

Dockyard. 

As pan music gained prominence 

in Antigua and Barbuda, and 

throughout the Caribbean with the 

development of Carnival, the 1960’s 

saw the beginning of a number of 

steelbands, most being off-springs of 

existing, established bands. Among 

the new bands were Red Streak, 

West Side Harmonites, South Side 

Symphony, Buccaneer Cove Pirates, 

Jr. Hell’s Gate, Texaco Astronauts, 

St. Joseph’s Academy Steel Band, 

and two all-girls steelbands, the 

Cosmonauts (an off-spring of Texaco 

Astronauts), and the Melonites 

(an off-spring of Harmonites). The 

1960’s also saw the emergence of 

many great pan players, some who 

have migrated, while others are 

still among us today. Some of the 

names that come to mind are Roy 

Gomes, Rawdon Edwards, Franklyn 

“Cockwheel” Byers, Willy Jeffrey, 

Stacey Edwards, Victor Michael, 

Phillip George-John and Trevor 

Mathurin. Roland Prince, a world 

class musician, arranged for Brute 

Force at the tender age of sixteen 

(16). Quite an accomplishment. 

In 1964, Hell’s Gate won the 

Steelband Championship title. 

Dr. Foster Hill, one of Antigua and 

Barbuda’s best musicians, arranged 

the title piece and worked tirelessly 

with the band night after night for 

many weeks seeking perfection of 

the masterpiece. On competition 

night, many people wept openly 

when the band performed Handel’s 

“Hallelujah Chorus”. It was a

moment of glory for not only Dr. Hill, 

but also for Eustace “Manning” Henry 

who had assumed the captaincy of 

Hell’s Gate from George “Nugget” 

Joseph, who had captained the 

band to the Championship titles in 

1953, 58 and 59 with arranger and 

musician Sydney Prince, another 

musical master. 

The same year, Hell’s Gate won 

a prize trip to New York’s World’s 

Fair, donated by British West Indian 

Airways (BWIA). In New York, they 

held large crowds spellbound, who 

could not believe the sounds that 

emanated from a set of oil steel 

drums, particularly at the Caribbean 

pavilion, as they masterfully executed 

their renditions which ranged from 

calypso and ska to classical music. 

Between 1965 and 1967, two 

Trinidadian steelbands were invited to 

Antigua. “Shell Invaders” was the first 

in 1965, and has been credited as the 

band that introduced the cello pan to 

Antiguan and Barbudan panmen. 

In 1967 “Esso Tripoli” steelband 

visited Antigua on two occasions. 

It was a period when the Antiguan 

panmen began to fully appreciate 

the sounds of the used oil drums and 

Brute Force was the first steelband 

to engage the services of a pan tuner 

from Trinidad. The band dissolved 

sometime in 1968-69. 

The decade of the 1970’s opened 

with “Rising Sun” captained by 

Vincent Freeland, and with Dr. Charlie 

Roberts as arranger, the steelband 

walked away with the Steelband 

Championship title that year. The 

only other bands in the 70’s who were 

first time championship winners were 

Supa Stars (1973), Halcyon (1975), 

and Ebonites (1977). This period has 

been touted as the best era that pan 

has enjoyed thus far in Antigua and 

Barbuda. 

Other bands formed during the 

1970’s and 80’s were Supa Fly, 

South Stars, Cedar Sonics, Barclay’s 

All Stars, Angas Tri Stars and the 

all girls Symphonettes, Petro Steel 

and Metrophonics. Many individual 

pannists also came to the fore like 

Aubrey “Lacu” Samuel, Fitzroy 

“Champ” Martin, Victor “Babu” 

Samuel, Patrick “Stone” Johnson, 

Veron Henry, Simon Tulon, Curtis 

“CC” Cochrane (the four stick 

master), Kemoye “Congo” Thomas, 

(the three stick master), Charmaine 

DeSouza, Vincent Michael, Robin 

A. L. Margetson, Stephen Mason, 

Fitzroy “Blakie” Phillip, Stafford 

Joseph, Marlon Charles, Patrick 

Watkins, Daulton “Dally” Francis, 

Lingfield “Cujo” Martin, Professor, 

Kamoy, Gary, Kodjo, Woto, Geran, 

Wadada, Zulu, Shwarp, Stove and 

Snagga. 

In 1981, a group of young, talented 

players known as the “Gemonites,” 

formerly PM Serenaders, captained 

by Vere Henry, walked away with the 

Steelband Championship title that 

year. 1981, 1985, 1986 and 1987 were 

the only four years of the 1980’s that 

Steelband Competitions were held in 

Antigua. In 1985, Harmonites were 

the champions, in 1986 and 1987, 

Halcyon won both championships. 

To date, steelbands have sprung up 

in quite a number of countries outside 

the Caribbean like China, Japan and 

Sweden, and the significance of the 

steelpan in the emergence of world 

music is testament to the fact that 

steelband music is now accepted 

universally. 

Lately, the steelpan in Antigua and 

Barbuda with its original and unique 

sound is almost lost to the loud hi 

fi’s and jamb bands which dominate 

the music scene during the Carnival 

celebrations. 


our 

golden jubilee

20 

Mas 

Music 

F a n t a s y 


BELMONT 

CLINIC

Steel Band 

Greats 

Eustace “Manning” Henry -- A giant in the steelband movement, he is regarded as 

one of its pioneers. Manning assumed the captaincy of Hell’s Gate Steel Orchestra 

in 1964 and remained as its captain and manager for many, many years. He is an 

outstanding pan builder, player, tuner and captain. One of his shining moments was 

in 1997 when he and his son Veron were invited to Aruba to assist in the revival of 

steelband music on the island. In 2002, Manning was inducted into the Carnival Hall 

of Fame. 

Bruce “Fundo” Bloodman – Another pioneer of pan, Fundo, who was born on 

November 6, 1932, was one of the leading members of the Hell’s Gate Steel Ochestra 

in its early days. He joined the band along with his companions, George and Elick 

Williams and travelled with the band on various trips abroad. On one such trip to St. 

Thomas, his performance on the double tenor pan was so impressive that many called 

for the re-naming of the double tenor as the “Fundo tenor.” He resided in St. Thomas for 

a number of years and formed the “Charlotte Amalie High Shooting Stars” steelband. He 

has inspired many young pannists, and who can forget his solo presentation of “Cantata” 

which is forever etched in the minds of many pan lovers. Over the years he has been 

associated with Harmonites, BPL Supa Stars, Rising Sun and his own steelband, “Fundo 

Serenaders” which he formed in 1968. In 2003, Fundo was inducted into the Carnival 

Hall of Fame. He has since passed on. 

Eustace “Gatouks” Harris – As a member of Stardust which was an offshoot of Red 

Army, Gatouks spent a lot of time observing “Chisland,” who built pans for various bands, 

and from an early age, he became fascinated with pan building. In the late 1960’s he left 

Star Dust to play with Brute Force, and was denied the opportunity to play in Panorama 

1968 with the band. Soon after, Gatouks, whose mindset was permanently fixed on pan 

building, left the band and started experimenting with his dream. Today, Gatouks is a 

master of the art of pan building. 

Rupert “Teela” Parker -- A foundation member of Harmonites International Steel 

Orchestra, Teela, over the years, has served in the capacity as captain and arranger of 

the steel band. He has taught many in the Point and other areas around Antigua to play 

the pan. A pioneer in the steelband movement, Teela captained Harmonites in 1968 

when they tied with Brute Force. He captain the band to their Championship titles in 

1971, 1972 and 1974. In 1968, he arranged ‘Miss Tourist,” the winning piece. With four 

Steelband Championship titles in seven years, under his captaincy in 1974, Harmonites 

won the “band of the year” title, for their presentation of “Interplanetary Sailors,” a title 

which is usually won by the number one Carnival mas troupe. 

Victor “Babu” Samuel – Hailed as one of Antigua and Barbuda’s best pan player and 

arranger today, Babu captained Halcyon Steel Orchestra in 1978 and 1979 when they 

won their second and third Steelband Championship titles. In 1986 and 1987, the band 

won two other Championships, and in 1992, 1993, 1994 and 1995, they enjoyed the 

status of being the only band in Antigua and further afield to four peat in a Steelband 

Championship competition. Babu was the arranger during those glorious years. 


our 

golden jubilee

22 

Mas 

Music 

F a n t a s y 

Steel Band 

Greats 

Steadroy “Steady” Joseph -- The late cultural activist, Steady, as he was fondly called, 

touched the lives of many in the steelband world. In 1968, he was instrumental in the 

creation of the Supa Stars Steel Orchestra and their ultimate road to victory some four years 

later. Steady was always willing to spread his knowledge and experience throughout the 

pan fraternity, and committed his life to the development and advancement of Harmonites 

International Steel Orchestra. His favorite instrument was the double second pan and he 

also enjoyed playing the percussions. 

Veron Henry -- The son of the great pan player, pan builder and former captain of Hell’s Gate 

Steel Orchestra, Eustace “Manning” Henry, Veron has decided to walk in the footsteps of 

his dad. He is a pan tuner, a pan builder, and can play just about any instrument in the steel 

band. In 2004, Veron along with Vere Elmes arranged the song, “Freedom Celebration” for 

Harmonites International Steel Orchestra which propelled them to the Championship title 

that year. 

Fitzroy “Champ” Martin -- An excellent pan player and arranger, Champ captained 

Harmonites International Steel Orchestra in 1985 to victory when he arranged “Don’t Eat 

It,” a piece that the steel band played with all the zest and vigor one could muster up. He 

is brother to the late, Beverly Roberts-Watkins, a member of the all girl’s steelband, the 

“Melonites.” 

George Weekes -- An true legend of the steel band movement, Weekes has been involved for 

over forty years. A master of the pan, he captained Harmonites International Steel Orchestra to 

their first Championship title in 1969, after being tied with Brute Force in the 1968 competition. 

Weekes is also credited with playing a major role in the formation of the Melonites (all girl’s 

steelband). When Nunny Byam built his first three steel pans, Weekes, Teela and Arthur White 

were the recipients. Still an active member with Harmonites, Weekes remembers individuals 

like Hopsis, Joseph, Little, Playboy and Arthur White who started out with him in 1962. 

Curtis “CC” Cochrane -- CC started playing pan in 1975 and joined Ebonites in 1977. By 

1978, he started practicing with Halcyon Steel Orchestra, and by 1979, he was playing in his 

first Panorama as a member of the steelband. That year, Halcyon won the Championship title 

with “Kangaroo Jam,” arranged by Len “Boogsie” Sharpe. CC has developed himself as a 

pan soloist and enjoys working with some of Antigua and Barbuda’s best musicians. He plays 

the pan with four sticks, which is a very rare occurrence in the scheme of things. He is surely 

blessed with a wonderful gift. 

Dennis “Nunny” Byum -- Another pan pioneer, “Nunny” as he was called, was a 

quiet, but effective member of the pan movement. In the Point where he resided, 

Nunny was always building pans. His chisel and hammer were over-worked, 

but there was a special quality sound in his blending. Nunny had a tremendous 

improvising ability that was unmatched. He was a pan player, a teacher of the 

pan, and a first-class pan builder. Nunny has since passed on – may his soul rest 

in eternal peace.

Arthur “Bum” Jardine - As a youngster, Bum got involved in the steel band movement after 

his mother gave Brute Force permission to practice in the yard of her Cook Shop which was 

located on South and Market Streets. In the 1950’s and 60’s, he traveled extensively with the 

steel band and became a solo artiste in 1957. He presently resides in the U.S., and today, 

is recognized as one of the best pan players that Antigua and Barbuda has produced. An 

upcoming auto-biography entitled, “The Man, His Pan, and the Conflict,” that details the life of 

this great pan player will be available shortly. 

Pat Edwards -- One of the most sought after musicians in Antigua today, Pat Edwards is at 

the top of his game. Since returning home, after a long sojourn in New York, Pat is still very 

much involved with music, even though it is not steelband music. An excellent pan player, in 

1961 he joined the St. Joseph’s Academy Steelband, and later played with Johnny Gomes 

and others in South Side Symphony and the Astronauts steelbands. He also arranged a 

number of tunes for the Astronauts. Pat Edwards is in the class of a music genius. 

Simon “Kamau” Toulon -- made his debut in 1972 with the St. Joseph’s Academy Steelband. 

In 1973, he joined Harmonites International Steel Orchestra, and since then has served as 

its Treasurer, Secretary, Vice-captain and Captain. Since 1985 to present, he has captained 

the band. Toulon plays the low bass and when asked what has been his best moment with 

Harmonites, he was happy to talk about 1979 when the band was invited as part of the 

entertainment package for the US Super Bowl half-time show. Toulon would like to see music 

as a part of the school’s curriculum, so that the youths would be able to read and appreciate 

music. He has toured extensively with Harmonites over the years and has visited places like 

Korea, Canada, US, Brazil, Bahrain and Grenada. 

Aubrey “Lacu” Samuel -- A quiet, unassuming master of the pan, Lacu like brother Woto, loves 

to play the double second pan. Many years ago at an Antigua Girl’s High School fete, Lacu 

listened to Supa Stars, he was so captivated by them that he decided he wanted to play the 

pan. He started playing with Supa Stars in 1976 and was a member of Gemonites when they 

won their first Championship title in 1981. Lacu migrated to the United States for a period of four 

years and while residing in Baltimore, Maryland, he joined Oliver’s steelband, the “Pace Setters.” 

Lacu returned home in 1987, and started developing himself as a solo pan artiste. In 1995, he 

joined Roots Steelband and is still an active member with them. Lacu plays all the instruments in 

the band, but the double second is his favorite. 

Valerie Harris-Pole – captained the all girls Melonites Steel Band which started in 1964 

in the Point area as an offspring of Harmonites International Steel Orchestra. The band’s 

first outing was the Labour Day Queen show which was held at the Michael’s Mount. The 

two songs the band played were “Sweet Pea” and “Stricolene.” The band was also invited 

to play at the Labour Day parade through the streets of St. John’s and at the picnic at Fort 

James. Other members of the band were Leonie Henry, Janet & Estella Williams, Brenda 

Ephraim, Jacqueline King, Sandy Hunte and the late Beverly Roberts-Watkins. 

Judy Labadie – captained the all girls Cosmonauts Steel Band which started in 1965 in the 

Ovals/South Street area as an offspring of Texaco Astronauts Steel band. Early members of 

the band were Heather Gomes-Bailey, Hazel Martin, Odette Mills, Rosey Longford, Valerie 

Hodge, Harlene Williams, Janice Dover and Heather Longford. 

Dennis Lashley – an old veteran of pan, Dennis joined Hell’s Gate in the late 

1950’s and stayed with the band for many years. When his nephew, George 

Weekes, Teela and others formed Harmonites International Steel Orchestra in the 

1960’s, he immediately switched bands. He is one of the better bass players who 

has played in many Steelband Competitions and has enjoyed a few Championship 

titles. He is still very active in the steelband movement today. 


our 

golden jubilee

Steel Band 

Greats 

Charmaine DeSouza -- a talented, unassuming schoolteacher, pan was almost preordained. 

Her father, former Rising Sun player, Charles “Chicken” DeSouza, influenced 

Charmaine and her brothers to take up pan. As a young player and arranger, Charmaine’s 

aspiration is to be the first female arranger to win Panorama. 

Patrick “Johnny” Gomes – A member of the now defunct Brute Force Steel band, ‘Johnny’, 

as he is affectionately called, is an experienced pannist who was tutored by one of the great 

pan masters, Arthur “Bum” Jardine. Johnny is an accomplished musician who also plays 

the keyboards, and is still very much involved with pan today. He is the present captain and 

lead tenor player of the popular City South Steel Orchestra based in the Bronx , N.Y. The 

steelband, recently released two popular CDs which feature an array of religious music. For 

many years, Johnny taught pan successfully at Youth Interactions, Inc. in New York , which is 

a performing arts school and repertory company. 

Before migrating to New York , Johnny played with Brute Force, South Side Symphony 

and Texaco Astronauts, which he captained. In November 1993, Johnny was awarded the 

International Heritage Award for his contributions and achievements to pan and music. 

Stephen Mason - made his debut in 1977 as a member of Harmonites International 

Steel Orchestra. He joined Gemonites in October 1981 right after the band won its first 

Steelband Championship title. However, he was present in 2003 and again in 2005 when 

Gemonites won the Steelband Championship titles. Stephen started out playing the 

single tenor, but is now a part of the band’s rhythm section where he plays the timbales 

and drums. His motto in life is to always strive for excellence. 

Patrick “Stone” Johnson -- an ace pan player and arranger, Stone started playing pan with the 

St. Joseph ’s Academy Rhythm Masters. In 1982 he joined the Gemonites Steel Orchestra and 

has trained members of the band to play all forms of music. An arranger for over 30 years, he is 

presently employed at the Cultural Development Division and has functioned in the past 15 years 

as Chairman and Secretary of the Antigua and Barbuda Steelband Association. 

Fitzroy “Blakie” Philip -- his interest in pan started in 1975 when Blakie was still a very young 

teenager. He would visit the Halcyon pan yard but never got the nod to become a member of the 

band until 1977, when Victor “Babu” Samuel supported him to be an official member of Halcyon. 

Blakie plays the tenor pan and is an accomplished soloist and arranger. 

Ashley George – he joined Hell’s Gate in 1964 and is one of the best bass players around. As a 

matter of fact, Ashley is still a present member of the band. He was one of the original founders 

of BPL Supa Stars along with Steadroy “Steady” Joseph and Dennis “Nunny” Byam. Ashley has 

taught and trained many players, and has enjoyed many Championships with the band. 

Gary Bridges – joined Supa Stars during his days at the Antigua Grammar School and 

developed his skills on pan to become one of the best pan players to date. In 1969 he migrated 

to Miami and returned to Antigua in 2006 to celebrate Lacu’s 30th anniversary of playing pan 

dubbed “Pan Rising” at the Royal Antiguan Hotel. Gary is a first-class pan player and has been 

credited as being Aubrey “Lacu” Samuel’s pan teacher. He is now a solo pan player in Miami. 


our 

golden jubilee

26 

Steel Band 

Greats 

Stafford Joseph – as a student at the St. Joseph ’s Academy, Stafford made his debut in the 

pan world in 1972 after being encouraged by one of his teachers who, at the time, was a founding 

member of the Harmonites Steel Orchestra. Even though most of his schoolmates became 

members of Harmonites, Stafford joined the oldest steelband on the island, Hell’s Gate Steel 

Orchestra, and is a master on the double tenor pan. Stafford loves classical music and in his 

spare time he enjoys teaching pan and reading. He is presently the captain of Hell’s Gate Steel 

Orchestra and has a wealth of knowledge of the real ole time steelband greats. Stafford was very 

helpful in providing information to assist us to include as many individuals as possible. Thanks. 

Mas 

Music 

F a n t a s y 

Eugene Murphy – presently residing in the USVI, Murphy played with Brute Force steelband in 1963 

with other great pan players like Patrick “Johnny” Gomes, Arthur “Bum” Jardine, and a host of other 

players. Murphy is still considered as one of the best cello players around. 

Daulton “Dally” Francis – started out in 1974 as a member of the PMS Serenaders (now Gemonites) 

under the captaincy of Vere Henry. In 1976 he joined Harmonites International Steel Orchestra and in 

1979, he became a member of Halcyon Steel Orchestra and enjoyed his first Championship title with 

the band. A school teacher by profession, Dally is also an arranger. To date, Dally can boast of seven 

Championship titles with Halcyon. 

Lingfield “Kodjo” Martin – a pioneer in the pan movement, Kodjo got interested in pan at the tender 

age of ten, and in 1971, he became a member of Harmonites International Steel Orchestra. By 1973, 

he was arranging for PMS Serenaders (Gemonites). In 1981 he was off to Carifesta in Barbados and 

in 2001, he arranged the tune for Harmonites and won the Steelband Championship that year. Kodjo 

is father to the youngest female pan player, Chekiyah Martin , who started playing pan at age 4, and is 

known as “The Pan Princess.” As an ace arranger, Kodjo is still making his contribution to pan. Kodjo’s 

brother, Fitzroy “Champ” Martin, captained Harmonites in 1985. 

Ricky “Woto’ Samuel – brother to Aubrey “Lacu” Samuel started playing pan in 1973 with Harmonites 

International Steel Orchestra. A boss on the double second pan, Woto has many Championship titles 

under his belt and is still playing today with Harmonites and arranges for the band as well. 

Elderfield Phoenix - another fine cello player. In 1965, Phoenix was one of the key players in Texaco 

Astronauts steelband that was captained by Patrick “Johnny” Gomes. 

Robert A. L. Margetson - fondly called “Robin,” was introduced to pan thirty-four (34) years ago 

(1973) by a community group in Gambles. That same year, he joined the St. Joseph ’s Academy 

Rhythm Masters, and in 1974, was invited to play with Harmonites International Steel Orchestra 

where he remained for three years playing the double tenor pan. In 1977, he began playing 

tenor with the Princess Margaret School Serenaders and was a founding member of Gemonites 

when the band broke away from the Princess Margaret School in 1978. 

Robin specializes in the tenor and double tenor pans and has served Gemonites in the capacity of 

Captain, Vice-captain, Secretary, PRO, composer, arranger and musical director for the School 

of Pan . In 2007 he is a Core member of the newest steelband in Antigua, “PANACHE,” which 

promises to raise the standard of pan in Antigua and Barbuda . 

He has enjoyed three Championships with the band so far, and his best moment in 

pan has been the 1981 Championship when he along with Paul Samuel arranged the 

winning tune, “25 Years of Mas.” Robin is committed to see pan music get back to 

where it rightly belongs.

Vincent Freeland – is more than just an ardent pan player/builder. He is from Pigotts Village, and was 

introduced to the steel pan by the late Joshua James. In 1951, he was a beneficiary of some old, discarded 

pans and he started his own band. He later played with Rising Sun and was influenced by the men who 

played in Sun Valley steelband from Barnes Hill and North Stars from New Winthropes. He was amazed at 

the talent exhibited by Roy Solomon, who Freeland believed had the fastest pair of hands, Leonard Barnes, 

Edrick Robinson, Radford Lawrence, Willie Isaac, Spanky and Littleman Simon. Before Vincent started 

using a hammer in his pan building exercise, he used to use a stone. He’s truly a pan building genius. 

Denley Lauchland Samuel -- was born in Fibrey and grew up in Ovals. Naturally, when he became 

interested in pan he gravitated to Brute Force that was in the area. He joined the band in 1958 but 

was playing the pan long before joining Brute Force. In 1960, he organized the Jr. Brute Force. 

Denley can play any pan, but his love is the lead pan. From 1962 – 1964, Denley tutored the St. 

Joseph ’s Academy School and arranged for it's first national Panorama competition. He’s one of the 

founding members of South Side Symphony Steel Orchestra in 1965, and has served over the years 

as its Captain, Tutor, Arranger and Builder. 

In 1967, he was elected Captain of Brute Force Steelband and was its arranger in 1967, 1968 and 

1969. He also arranged for Frutti Bottlers City Symphony in 1970 and the Buccaneer Pirates City 

Symphony in 1971. 

Denley has worked with steelbands in Montserrat , St. Kitts/Nevis and Guadeloupe and is credited as 

the first Antiguan to play in the Trinidad & Tobago’s 5th Cycle. 

Hell’s Gate Steelband -- This is the oldest and most popular steelband in Antigua and Barbuda today. 

It has been around since 1946 and has enjoyed a very rich history. While some other steelbands have 

engaged the services of foreign pan builders and tuners, Hell’s Gate has maintained local pan builders and 

tuners. In the 1970’s, they were sponsored by the West Indies Oil Company and from 1989 have been 

sponsored by Cable & Wireless Antigua and Barbuda. From 1980 to 1997, Clarence Simon served as 

Hell’s Gate Manager. Celebrating 50 years of Carnival, special mention must be made of individuals like 

Alexander “Alec” Roberts, Bruce “Fundo” Bloodman, Eustace “Manning” Henry, Veron and Orville Henry, 

Devonson David, Stafford Joseph, Alston Henry, Ashley George and Gene Roberts. Dr. Foster Hill and 

brother Knolly Hill, Bertha Higgins, Haggi Daud, Jagger Martin, Donald “Iceman” Weston, Mussington 

“Mussy” Joseph, Rufo Odor, Winston Bailey, Yvonne Maginley and Alan “Cannon” Michael. Over the years, 

they all have contributed to the Hell’s Gate Steel Orchestra in many meaningful ways. 

Harmonites International Steel Orchestra – Hailed as Antigua and Barbuda’s musical ambassadors they 

started out in 1964 captained by Rupert “Teela” Parker. Some of the key stakeholders in the band at the 

time were Leroy “Jughead” Gordon, George Weeks, Simon Toulon, Fitzroy “Champ” Martin, Steadroy 

“Steady” Joseph, Marlon Frederick, Dennis Lashley and others. 

Halcyon Steel Orchestra -- Selvyn Walter 

is the founder of Halcyon and PM Baldwin 

Spencer assumed the role of Manager for 

many, many years. Individuals who have 

contributed to the band’s success are Melvin 

Simon and the Kirby Brothers, Victor “Babu” 

Samuel, Fitzroy “Blakie” Philip, Conrod “Boast” 

Whyte, Curtis “CC” Cochrane, Curtis “Likkle” 

Mussington, Rohan Jacobs, Roderick “Biggs” 

Cochrane, Daulton “Abumba” Francis and 

others. 

Roots Steel Orchestra -- Leon “Kuma” Rodney 

and other pan greats. We Salute You. 

Supa Stars -- Special mention must be given to Cornel “Nantanbu” Brooks, Eddy Jacobs, Lano 

Richards, Lyndy Crawford, St. Clair “Fooly” Jacobs, Sylvester Hughes and Cecil Browne, the original 

members of the Supa Stars Steel Orchestra that was formed 40 years ago in 1967 by the late 

Steadroy “Steady” Joseph, Ashley George and the late Dennis “Nunny” Byam. The original band 

was captained by Dennis “Nunny” Byam and later by Cecil Browne and Eugene “Rats” Edwards. 


our 

golden jubilee

28 

Mas 

Music 

F a n t a s y

W h a t D o e s 

C a r n i v a l 

M e a n t o y o u 

Dr. Charles Wm. Ephraim 

This year, 2007, Antiguans and 

Barbudans, together with a multitude 

of guests and tourists from abroad, will 

joyously celebrate the 50th anniversary 

of Carnival, which Antiguans and 

Barbudans have named the “Caribbean’s 

Greatest Summer Festival.” Perhaps 

there is some exaggerated self-praise in 

this formalized appellation. 

And so-what? No big deal. That 

really doesn’t matter to a people longstarved 

of appreciation, a people whose 

achievements over many years and 

in multitudinous fields of endeavor, 

generally have gone unacknowledged 

by outsiders, and by their own native 

compatriots as well. 

What matters is that Antiguans and 

Barbudans, the real insiders, understand 

the essence of Carnival, and know 

too well how to exhibit its spirit, which 

consists of an unbroken, exuberant 

week-long spree or fete, or bacchanal, 

a carnal life-style befitting the unholy 

worship of jolly Old Bacchus, the ancient 

Roman god of wine and drunken revelry. 

One can really see, hear, smell and taste 

Old Bacchus in this, “the Caribbean’s 

Greatest Summer Festival.” 

For Carnival is, in essence, a season 

of endless feasting and riotous 

amusement, with a parade of bands 

playing and singing the latest calypso 

songs, accompanying troupes that 

display the widest array of breath-taking 

color-schemes, and an even wider 

array of newly-created dance-moves 

depicting, in fantastic fashion, real or 

imaginary, mythical figures and events. 

This is what Carnival really means to 

most people whose sole object during 

this season is “to come out to play and 

have a hell-of-a-time.” 

These Bacchants, true 

to form as votaries of 

Old Bacchus, eat, 

drink and dance 

orgiastically, their 

every movement 

pronounced by the 

ever-present mark 

of licentiousness. 

Herein lies the fun 

of it all, for those who 

feel and live the true spirit 

 

of Carnival, and for those who fully 

appreciate the historical significance 

of emancipation, which is, after all, its 

raison detre. 

For, indeed, the more “sophisticated” 

Antiguans and Barbudans, even without 

being asked, will gladly tell you that the 

real meaning of Carnival – of course, 

not excluding the feasting and riotous 

amusement—is the celebration of their 

forefathers’ emancipation from slavery 

in 1834. 

True, emancipation from slavery of any 

people, anywhere, is worthy, indeed, 

of an elaborate celebration. But a 

very troubling question arises in the 

context of their celebration. Is the 

unholy orgy of eating and drinking and 

non-stop gyrating or what they call 

“wining,” commensurate with the spirit 

of Judeo-Christian morality which 

most of us profess to be faithful 

to? If we are honest, we have to 

say a resounding “NO!!” For the 

so-called “wining” is, I’ve been 

told, principally and generally 

characteristic of prostitutes as an 

enticement move to win over their 

one-night, one-stand “lovers.” 

And what about our children, all 

or most of whom are being taught 

year-in and year-out, to behave 

as the frenzied Bacchants, as 

their parents and guardians, do? 

We make our innocent children 

into pawns of the inexplicable 

vulgarity which becomes our 

Lebenswelt “for Carnival.” 

But there is no punctuation 

mark in the trend of 

Bacchanalic indecency, 

and so, in the post-Carnival 

season, our children, 

u n c e a s i n g , 

continue to practice with unimaginable 

seriousness and dexterity, some new 

and more tantalizing moves for the next 

“wining” season, absent the very moral 

consciousness we wish them to imbibe. 

There’s a fundamental and irreconcilable 

contradiction in all this. Unless we 

understand this, and correct some of 

our ways, our children will become 

increasingly morally depraved—like so 

many of us are—and we will experience 

our Carnival, however well-intended, as 

an uninvited nightmare. 

Enjoy yourselves, but be constantly and 

honestly aware of some of the probable 

moral pitfalls entailed by the Bacchanalic 

festivities. Good luck, my brothers and 

sisters. Remember: to be morally bound 

to Old Bacchus is to be 

fettered, not free. 

Have a happy 

time. And be 

safe. 


our 

golden jubilee

32 

I must admit, that the time spent 

researching and gathering 

information about Julius Marcus 

Christopher, known to many as 

Marcus Christopher, was time 

well spent, and an education 

within itself. A colossal Carnival 

icon, Marcus has dedicated 

over five decades of his life to 

Carnival in Antigua and Barbuda, 

silently working behind the 

scenes at times, trying to assist 

calypsonians, musicians and 

others in various endeavors. He 

is an accomplished musician, a 

lyricist, a dramatist, mas creator, 

producer and band organizer. 

Marcus Christopher’s involvement 

with calypso is older than Carnival. 

In 1952, he penned his first 

calypso, “Rule Britannia,” a song 

he felt would be appropriate for 

the Coronation of Queen Elizabeth 

II in 1953. At the time, he played 

trumpet with “Denny Ed’s Combo,” 

a band he stayed with for many 

years. 

When Carnival officially started 

in 1957, George Martin served 

as Chairman of the Calypso 

Association and Marcus 

Christopher as the Deputy 

Chairman. Marcus held the deputy 

position for two years, and from 

1959 to 1973 he served as the 

Calypso Association’s Chairman. 

Mas 

Music 

F a n t a s y 

A true lover of the art form 

(calypso), in 1960, he penned the 

two most popular songs in the 

Calypso competition, “Slapping 

Hand” and “Gem of the Caribbean” 

for Eugene Henry, known to many 

as “Canary.” The first tune became 

an instant hit as it related to a 

situation that was reported to be 

out of the ordinary at the time. The 

story that made the rounds was of 

a young girl who was continually 

slapped in the face by an invisible 

hand. On competition night, 

Canary won the Calypso Monarch 

title, and Marcus Christopher as 

the writer of the songs, gained wide 

spread recognition in the calypso 

sphere. 

The following year, 1961, Marcus 

Christopher wrote for King Canary 

and another calypsonian by the 

name of George “Zemakai” 

Edwards. During that period, the 

Cuban Revolution that brought 

Fidel Castro to power in 1959 was 

still very much a topical issue, 

and Marcus Christopher, knowing 

that the spotlight was on Cuba, 

composed two songs for Zemakai 

entitled, “Fidel Castro,” and “Tribute 

to Radio Antigua.” That year, 

Zemakai was crowned Calypso 

King of Antigua and Barbuda. 

Marcus Christopher was now on 

a roll and calypso pundits at the 

time challenged his abilities to 

produce the winning songs for 

the 1962 competition. Not one 

to back down from a challenge, 

Marcus Christopher produced two 

wonderful songs, “Island People 

Names” and “Immigration Bill,” 

which were sung by King Canary 

who walked 

away with 

the Calypso 

Monarch title 

that year. It 

was three in a 

row for Marcus 

Christopher. 

In 1962, Sir McLean 

Emanuel (King Short 

Shirt) made his first appearance on 

the calypso stage, but failed to pass 

the elimination. Not to be deterred, 

in 1963, with Marcus Christopher 

as his writer, King Short Shirt 

won the first runner-up spot while 

Kenneth “Tennyson” George 

walked away with the Calypso 

Monarch title. Continuing his work 

with King Short Shirt in 1964, 1965 

and 1966, Marcus Christopher 

again made it three in a row when 

King Short Shirt was crowned King 

on all three occasions. Some 

of the wining songs that Marcus 

wrote were “No Place Like Home,” 

“Heritage,” Beatles and the MBE,” 

“Paradox of Life,” and “Blessed is 

the Child that has his Own” to name 

a few. 

The combination of King Short Shirt 

and Marcus Christopher returned 

as a wining duo for another three 

years, though not consecutively in 

1969, 1970 and 1972. With songs 

like “Black Like Me,” “Technical 

School,” “Carnival on the Moon” 

and “Heart Transplant,” King 

Short Shirt was definitely on his 

way to becoming one of the best 

calypsonians in the region. 

Marcus Christopher was quick to 

recall that during those early days, 

calypsonians were not embraced 

or respected by many in society. 

He had to fight to get recognition 

for them and refreshments when 

they performed, because they 

were offered absolutely nothing. 

It took a lot of negotiating in 

order for Calypsonians and the 

band to get a part of the gate 

receipts. They encountered many 

serious problems and set backs, 

particularly when the Carnival 

period ended. They were refused 

places like the Princess Elizabeth 

Community Hall to stage shows,

ut Marcus Christopher did not 

allow things like that to dampen his 

spirit as he was a lover of music 

and calypso. 

In 1971, he created “Calypso 

Island” in the East Bus Station area 

and constructed some small booths 

where refreshments were sold 

from. He built a circle where the 

calypsonians would perform and 

the same year, he organized the 

first Caribbean King competition. 

Marcus Christopher has also 

written for the undefeated King 

Obstinate. Many calypso lovers will 

remember the songs, “Farewell 

Papa,” and “Gold Rush,” which 

were penned by Marcus and 

remain as two of the best calypsos 

King Obstinate ever recorded. 

In recent times, Marcus Christopher 

penned “Under the Carpet,” and 

“Time Marches On,” for the twotime 

Soca Monarch winner, Mervin 

“Sleepy” Edwards. He has also 

written for Stumpy and others. 

Marcus Christopher was also 

involved in Mas. For the first 

Carnival in 1957 he created and 

produced his first troupe, the 

“Skelehoppers,” which is forever 

etched in the minds of many 

Carnival historians. In those 

days, the element of surprise was 

the order of the day, and Marcus 

never delivered the costumes until 

the night before the parade. The 

participants would practice the 

dance steps each night leading 

up to the main event, but never 

saw their costumes. One year, he 

created three different costumes 

for his troupe. One costume for 

J’ouvert, another for the parade 

and one for the big dance at the 

“Mount.” Other mas troupes 

that were 

produced by him were “Jesters,” 

“Peers and Ladies,” “Bats,” 

and “Carni-capers.” Governor 

Williams was so impressed with 

Marcus’ “Peers and Ladies,” 

that he personally called him 

and congratulated him. From 

time to time, he would invite 

his “Skelehoppers” troupe to 

Government House to perform. 

In 2004, Julius Marcus Christopher 

was inducted into the Carnival Hall 

of Fame. 


MINISTRY OF 

TOURISM

34 

ueen 

Competition 

getting better 

with age 

Tracelyn Cornelius 

She’s beautiful, intelligent and 

sophisticated; with a charm and 

elegance that transcends that of any 

member of royalty. Hips swinging like 

full wine pitchers, she glides across 

the stage attired in the most modern 

swimwear, mesmerizing the onlooker 

with sheer natural talent, embodied in 

song, dance or drama. And then, as if 

that was not enough, already under 

a potent spell, she dazzles you 

with a costume vibrantly depicting 

a unique cultural experience, 

before taking you to even higher 

heights, in an explosion of 

colour, sequins and beads, 

which epitomized her formal 

wear. 

Mas 

Music 

F a n t a s y

It does not take a genius 

to recognize that this vivid 

description is that of a Carnival 

Queen contestant on the 

night of the Queen of Carnival 

competition. Like Antigua ’s 

Carnival, the Queen competition, 

being one of the inaugural 

pageants, is also celebrating a halfcentury 

of existence. 

Remarkably, apart, from a simple 

rotation in the name from Carnival 

Queen Show to the Queen of 

Carnival competition, the pageant 

unlike some of the other shows 

has virtually maintained its original 

constitution over the past fifty 

years. Indeed, contestants are 

still required to go through several 

rigorous months of preparations to 

pull off the signature event. 

As in yesteryear, the show 

continues to act as a vehicle to 

propel aspiring young ladies to 

further stardom. This feat has been 

accentuated even more in recent 

years with a few Carnival queens, 

most noteworthy, Kai 

Davis and Shermaine 

Jeremy, making 

their mark on the 

international 

scene at the 

Miss Universe 

Pageant. 

Money was 

always scarce 

during the early 

days of the show 

and committee 

members 

sometimes 

had to pool 

their own 

funds to 

guarantee 

the staging of 

the pageant. 

Although many 

individuals 

have 

contributed to the development of 

the Carnival Queen competition 

over the years, it would be remiss 

not to mention a few of the early 

stalwarts who worked tirelessly 

behind the scenes to create the 

dazzling spectacle each year. 

Dame Yvonne Maginley, who took 

over the reigns as the Chairperson 

of the Queen’s Committee just 

two weeks before the competition 

in 1958, ended up carrying out 

the role for almost fifteen years. 

Lady Marie Shoul, wife of the 

late Sir John Ferdinand Shoul, 

the first Carnival Committee 

Chairman, opened her home to the 

contestants, night after night, for 

some grueling practice sessions. 

With a look of unbridled 

amusement, Dame Maginley 

recollects, “I don’t know how we 

did it, but we straightened, cut 

and coloured hair, altered dresses 

and in some instances became 

surrogate mothers for the girls, who 

sometimes moved into the Shoul’s 

Newgate Street home during the 

days leading up to the big night.” 

Lady Shoul’s generosity towards 

the girls was immeasurable. 

She hosted numerous dinner 

parties, which were in some ways 

clandestine etiquette sessions 

to ensure that at the end of the 

journey, win or lose, each young 

lady was indeed ‘queen material.’ 

The use of the Shoul’s home as a 

venue for the Queen contestants 

to practice has left a legacy on 

the entire Carnival celebration. 

According to Dame Maginley, 

the stage was and continues 

to be patterned after their living 

room –semicircular in shape with 

entrances at the opposite ends. 

“The girl’s were accustomed to this 

configuration and so the stage was 

built that way,” she says. 

Names like Judy Johnson, Wilkin 

& Fay Griffith, Sidney Christian, 

Eileen Gonsalves, Mable Harney, 

Myrtle Heath, John Henry, Angela 

Jeffrey, Jack Johnson, Gloria 

Newby, Sheila Simon, Jardine 

Skerritt, Dame Gwendolyn Tonge, 

Myrna Kelsick, Ruth Ambrose, 

Rosemary Strife, Gwyneth Swift, 

Irma Tomlinson, Nora Simon 

and others, must always be 

remembered, for they also played 

their part in the early days to 

ensure the continued success of 

the Queen Competition. 

Like a bottle of good wine that 

gets even better with age, over 

the years, the Queen of Carnival 

competition has developed into a 

fine work of art. It is hoped that this 

event, which is looked forward too 

with much anticipation and zeal 

will continue to age gracefully 

with time. 


our 

golden jubilee

Religion 

Carnival 

Rev. Dr. Cortroy Jarvis 

The Webster dictionary 

says that Religion is a 

belief in a Supernatural 

power which governs 

the Universe, or 

recognition of God as 

object of worship, or 

any system of faith and 

worship. On the other hand, Chambers 

20th Century dictionary describes 

Carnival as any season of revelry or 

indulgence: riotous feasting, merriment or 

amusement. The question is, can Carnival 

and Religion mix, and if they mix, to what 

extent they can do so. 

I believe that there is a place in one’s 

religious beliefs for the merriment and/ 

or amusement. However, this has to be 

tempered, for one must be careful with the 

image or the message that is being sent. 

 

In real life, perception carries 

more weight than reality and 

could damage ones witness to 

the God whom he or she serves. 

Different religions have different value 

systems and therefore, one might have 

some latitude in some religions to be 

involved in Carnival. Carnival has its 

place, and Christians must know that 

their allegiance is to Jesus Christ. Any 

merry-making, therefore, ought to be to 

glorify Christ Jesus. If by being in Carnival, 

you are sharing your message in spite 

of and despite of, then yes. One can be 

happy without being vulgar and obscene. 

However, the indulgence in the flesh, the 

riotous feasting, the drunkenness and the 

like should not be portrayed in the Christian. 

While my view might not be popular, I 

believe that until Carnival can be seen to 

be wholesome, clean, and add value to life, 

Christians should think twice about their 

involvement.

Teenage 

Pageant 

Veronica Yearwood 

“I got my first job at the Virgin 

Islands National Bank as a result 

of my involvement in the Teenage 

Pageant - my application was 

initially rejected. After the show was 

broadcast on television, I received 

a call from Mrs. Holly Peters on 

behalf of the Manager, Mr. Joseph 

Benjamin (deceased) to attend an 

interview. During this interview he 

advised that my application was 

not considered at first because I 

was thought to be too young at age 

16 to be employed in the Bank. 

However, seeing my interviews 

on television he decided that I did 

have the required level of maturity. 

My career path was set as a result 

of my involvement in the Teenage 

Pageant.” 

Mrs. Erna-Mae Tonge-Hurst, Miss 

Teenage 1973, representing the 

Sunnyside School, was winner of the 

first ever Teenage Pageant Show. 

Today Mrs. Tonge-Hurst is not only 

in the banking business, but is still in 

the business of the development of 

youth and more so, Antigua Carnival 

celebrations. No one can doubt that 

the Teenage Pageant has been a 

positive addition to Carnival for the 

youth. 

The competition has undergone 

many changes, from being called 

Teenage Pageant, Mr. & Miss. 

Teenage to Teen Splash. The 

introduction of males and the 

crowning of two winners: male and 

female to the change of a onewinner 

competition. New judged 

segments have been introduced 

such as Teen Model, Research and 

Personal Achievement Speech. 

Time has seen many changes 

in chairpersons and committee 

members who have donated their 

time and expertise in the production 

and execution of the competition, 

to which a loud applause should 

be given, but, one thing has always 

remained constant and it is the 

talented and intelligent youth who 

sought to showcase themselves and 

their schools during the Caribbean’s 

Greatest Summer Festival. 

The competition focused on the 

Schools’ involvement in Carnival 

and to date St. Joseph 

Academy has proven to be 

the School to beat as they 

have succeeded in winning 

the top seat for twelve years 

followed closely by Christ 

The King High School 

with nine wins. Hats off to 

such talent coordinators as 

Mr. Rudolph Davis of the St. 

Joseph Academy School who has 

insisted that there be a contestant 

from his school in the competition 

each year since males began taking 

part. 

“No doubt, over the years Teen 

Splash has evolved. It is no longer 

just a talent show. 

As committee members, we ensure 

that the benefits for the contestants 

placed or unplaced are long-term. 

The success stories are endless. 

Some have gone on to do well in 

academia, entertainment etc. A 

sense of accomplishment for all 

involved. 

The memories of Teen Splash 

(1973-Present) remain fresh in the 

minds of many, so it is now upon us 

as organizers through our planning 

and execution to build on its 

success” says Phil George, present 

Sub-committee member. 

This year, ten teens are poised 

and ready to be a part of the 50th 

Anniversary of Carnival, all “going 

for the gold”. The competition side 

of the show will be four judged 

segments, Interview, Research, 

Talent and Personal Achievement 

Speech. This year’s theme: 

“Reflecting on the Past, Anticipating 

the Future”, is most appropriate as 

this 50th Anniversary of Carnival 

dictates, that it is a time for teens 

to reflect and anticipate. It is a 

guarantee that these teens will 

provide knowledge, entertainment 

and thrilling performances in 

executing an excellent production 

for those who attend the Teen 

Splash Competition on 31st July at 

Carnival City. 

My involvement with the youth who 

positively represent their schools 

in this arena is both rewarding and 

invigorating and supports the age 

old saying that the youth are our 

future leaders. Those youth who 

step up to the plate and strive for 

excellence, using the Carnival stage 

as a vehicle to do so, deserve much 

credit and our support in their future 

strive for upward mobility. 

This year I am pleased to be 

associated with creative and 

innovative persons such as Wendy 

Josiah, Phil George, Ivy Hurst, 

Gilbert Laudat and Cynthia Charles, 

who all make up the team that is 

responsible for the production of the 

competition. 

In this our Golden Jubilee year, both 

contestants and sub-committee 

members are “Going for the Gold”. 

Have a great Carnival all! 


our 

golden Jubilee

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