A spirited panel discussion on Tuesday brought together leading cultural voices to reflect on the evolution, documentation, and cultural significance of Saint Lucia’s Carnival. Moderated by cultural activist Teddy Francis, the panel featured former Minister for Culture Dr. Damian Greaves, cultural preservationist Embert Charles, and historian Fiona Compton. Together, they unpacked the Carnival’s transformation from pre-Lenten celebrations to a summer showcase and examined the deeper historical and sociocultural roots of the festival.
Dr. Damian Greaves opened the session by revisiting the pivotal 1996 decision to shift Carnival from its traditional pre-Lenten calendar slot to the summer. He explained that this move came after national consultations and discussions with OECS counterparts.
“We thought it could help us in terms of tourism and economic growth. Competing with Trinidad’s Carnival was not feasible,” said Greaves. “Tying our celebrations to the tourism calendar made strategic sense.”
He described the evolution of Carnival since then as “tremendous,” noting the rise of Soca Monarch competitions, the popularity of Calypso, and the former OECS Soca Monarch contest. Greaves emphasised the importance of documenting this journey for future generations to appreciate the growth, challenges, and triumphs of Saint Lucia’s Carnival.
Cultural preservationist Embert Charles addressed the state of documentation, expressing both optimism and concern.
“Today, everyone has a phone, and there are more production houses than ever before,” he said. “But historically, we lost a lot due to a lack of structured documentation, aside from efforts by institutions like the Folk Research Centre.”
Charles also warned of growing class divisions within Carnival, fueled by the proliferation of premium sections and tiered access in bands.
“Carnival is supposed to equalize people,” he stressed. “Now we have VIP, VVIP, and even VVVIP sections; it’s gotten out of control and undermines the unifying spirit of mas.”
Historian Fiona Compton added a compelling historical lens to the conversation, sharing her personal journey of reconnecting with her Saint Lucian heritage through Carnival after years abroad.
“I became obsessed with understanding Carnival,” Compton explained. “The more I dug, the more I realized how rich and rebellious our traditions are.”
She delved into the origins of terms like djamet, tracing it back to the French diamètre, later Creolized, and used in Trinidad to describe the rebellious spirit of djamet mas which ia a tradition rooted in resistance, parody, and empowerment by formerly enslaved people.
“Carnival isn’t just mimicry of European traditions,” Compton said. “There’s a rebellious, anti-colonial spirit that runs through it, and that’s something we must celebrate and preserve.”
The discussion underscored the urgent need to preserve Carnival’s essence while navigating modern commercialization. The panel concluded with a call for greater investment in documentation, education, and inclusive practices to ensure Carnival remains both a celebration and a living archive of Saint Lucian identity.
