The excellent camera work was a marvellous vehicle for incorporating ‘flashback’ footage with stage performance and studio commentary.

One outstanding example of this technique was seen during Lord Canary’s tribute in calypso to the late ‘Intruder’ and to Ms Laxhmie Kallicharran, who perished tragically in a fire at her home on January 26.

The expert cutaway showed Intruder being interviewed by Laxhmie, who was asking him about his participation in this year’s Mashramani calypso contest.

Intruder was saying that he intended taking a back seat this year in order to give the young calypsonians a chance to showcase their talents. He promised that if God spared his life next year then he would return to the contest.

The smooth tenor of the interview was indicative of the pleasant relationship that existed between the two talented and contributing Guyanese. And for the viewer, the reality that both Intruder and Laxhmie have passed on to the great beyond, lent a special poignancy to the moment.

In another episode of ‘Carnivals in Motion’, renowned Mash costume band designer John Fernandes leads a panel discussion on the development of Mashramani over the years. With him are the equally noted Bernard Ramsay and Winfield James, whose contributions to the shaping of the Guyanese festival are invaluable.

While Fernandes was hailed for his innovative and sometimes daring realism of his productions in the 1970s and 1980s, Winfield James is possibly the only artiste who has participated in every Mashramani celebration from 1970. He was one of the designers who used to be contracted to produce costumes for 1,000-strong bands sponsored by the Linden Mining Company, the Guyana Defence Force and other government agencies.

James did not only design costumes, he was very much admired for his energetic stage performances wearing his own ‘King of the Band’ outfits. In recent times, James has been concentrating on honing his talents as a calypsonian and a few years ago he won the Mash Monarch crown.

Bernard Ramsey will be remembered for his range of vision in his costume designing. Prompted by Fernandes to speak of his early efforts, Bernard somewhat hesitatingly recalled a production that he had named “Land of Many Waters”. And those who were around in the late 1970s will remember that it was one of the most creative efforts ever witnessed in this country.

There were a ‘Massacurra Man’, a depiction of the famous Kaieteur Waterfall and scores of individual costumes symbolising the numerous fish and other life forms found in this country’s waters. In one memorable sequence in the National Park, the persons with costumes depicting the ‘Sheriga’ crustaceans, all descended on all-fours and moved crab-like to the delight of the packed stands of spectators.

Upon reflection, it would seem that Mashramani festivals in those years were more oriented to costume bands and the depiction of sheer pageantry and dramatic portrayals. Within the last decade or so, the accent has been on the Tee-shirt and tights participation.

In some ways this may have resulted from years of structural reforms, which did not leave a lot of disposable cash for adult costumes. In fact, how many working-class Guyanese could afford to spend $8,000 on a costume just to have fun for one day?

The heraldry of costume presentation now seems to be in the realm of schoolchildren, a sector that has blossomed wonderfully in recent years through subventions by the Ministry of Education and the agents of Fernleaf Milk.

We would like to congratulate the minds and the talents that are wonderfully at work to make Mashramani a festival of which all Guyanese could be proud.