Carnival in Trinidad and Tobago began in the late 18th century and is considered by many historians as the first of its kind.
According to trinidadexpress.com, Inspired by French plantation owners’ pre-Lenten celebrations, enslaved Africans created their own vibrant and symbolic traditions in response—transforming the festival into a powerful cultural expression of resistance and identity.
Nigeria carnival
“The discarded garments of their oppressors were fashioned into costumes worn for satirical reenactments of the opulent balls and events, which the slaves could not attend” states the website and “coded language to communicate verbally” and via drums would have also helped to give birth to calypso music and its many subgenres like soca, chutney, extempo and even Trinibad, which are thriving today.
Thus, the label of “the Greatest Show on Earth” which has long been used to describe Trinidad’s Carnival is not one to be taken lightly and should have served to format the carnival industry worldwide under our expert curation and with our creative and experienced guidance and approvals. This has not been the case and carnivals around the globe have been allowed to sprout, attract the masses and format themselves in a myriad of different ways to suit the varying cultures, budgets and environments in and around the places where they have been established.
Enter the DGL Carnival Consultancy Agency, formed and spearheaded by David Lopez, a Carnival enthusiast and scholar, who has been working on the African continent over the past decade and most recently delivered a presentation to the Calabar Carnival Committee in Nigeria at the beginning of March.
opez said: “The Calabar Carnival is widely known as Africa’s Biggest Street Party and is set to undergo a transformation aimed at improving its cultural, economic and social impact. This Carnival has the potential to surpass many other marketable industries in terms of revenue generation, tourism impact, and cultural significance. However, achieving this requires strategic planning, guidance, strong leadership and community involvement.”
Lopez shared his belief that a well-structured development plan is essential to ensuring the festival’s long-term sustainability and highlighted the significant role to be played by the mas bands in the development of the Carnival itself. He said:
“The heart of any Carnival lies in its mas bands, which bring colour, music and storytelling to life. Historically rooted in African traditions, these bands play a crucial role in driving tourism and local economic growth.”
Despite its immense cultural and economic significance, the Calabar Carnival has faced challenges related to funding and recognition. Many in the carnival community have expressed concerns over the lack of proper investment in the event’s development. Lopez agrees, saying:
“Carnivals around the world thrive when they receive the right level of support and funding. The Calabar Carnival should be seen not just as a festival, but as an economic engine capable of creating jobs, promoting local businesses, and positioning Nigeria as a global cultural hub.”
In his presentation, Lopez highlighted key areas where improvements are needed including: Community Engagement – to strengthen the festival’s rolein fostering social unity and cultural identity; Educational Development – to expand awareness of Carnival Arts in schools, focusing on African, Latin American and Caribbean traditions and Economic Growth – to foster and develop new financial models to enhance revenue streams and ensure long-term sustainability.
With a clear roadmap for growth, the Calabar Carnival is poised for a new era of success. Under the leadership of David Lopez, the DGL Carnival Consultancy Agency affirmed its commitment to guiding this transformation.
