分类： entertainment

Bill Newman, famously known as ‘The Mighty Crooner,’ achieved a historic sweep at the annual Canadian Calypso Competition on July 26, hosted by The Organization of Calypso Performing Artists (OCPA). His winning composition, *The 51st State*, not only earned him the prestigious title of Calypso Monarch by the judges but also secured the People’s Choice award through audience votes. Newman’s triumph extended to every major category, including Best Melody, Best Lyrics, Best Composition on a Local Topic, Most Humorous, and Best Rendition. Renowned Canadian calypso scholar Roger Gibbs praised Newman as ‘an unstoppable force,’ highlighting his signature suave style, clear diction, and topical compositions. *The 51st State* cleverly addresses Canada’s resolute rejection of former U.S. President Donald Trump’s suggestion that Canada become the 51st state. The song’s chorus, ‘No Donald no, we want to let you know, we don’t want to be the 51st state,’ resonated deeply with audiences, reflecting Canada’s commitment to sovereignty and independence. Newman’s performance was further elevated by the masterful arrangement by Ozzy Gurley, his long-time collaborator. Born in Guyana and later moving to Toronto, Newman’s journey into calypso began decades ago when he attended a competition and was inspired to perform. Known for his humorous calypsos, Newman’s latest work has sparked widespread interest, with calls for performances across Toronto. *The 51st State* is now available on YouTube and major streaming platforms.

After a six-year absence from the local art scene, Trinidadian visual artist Rebecca Foster is set to make a bold return with her one-day exhibition, ‘Mixtape: Vol 1,’ at the 101 Art Gallery on November 15. The 45-year-old Diego Martin resident will showcase over 30 pieces, a vibrant collection of new and older works, including sketches, Hard Rock Cafe portraits, and previously unseen creations. Foster describes the exhibition as a deeply personal endeavor, revealing her artistic soul and reflecting her journey as an artist. ‘This show is probably more of a reflection of me, which is terrifying. But hey, you gotta put yourself out there sometimes,’ she shared. The exhibition features a diverse range of styles and themes, from landscapes and architectural works to traditional Carnival characters and celebrity portraits, all unified by her signature use of vivid color. Foster’s artistic journey has been shaped by her experiences during the COVID-19 pandemic, where she created free coloring pages to help people cope with stress, eventually compiling them into her book, ‘Colouring Carnival: Traditional Mas.’ Her career spans multiple creative disciplines, including acting, production design, and even pole dancing. Foster’s upcoming exhibition marks a significant milestone in her artistic evolution, blending her Caribbean roots with a cinematic storytelling approach. The exhibition will be open from 11 am to 6 pm at the 101 Art Gallery on November 15.

The Caribbean School of Dancing (CSD) continues its legacy of blending discipline and creativity with a groundbreaking production titled *Fantasy in Dance: The Coconut Cracker*. Scheduled for November 15 and 16 at Queen’s Hall in St Ann’s, this performance reinterprets the classic ballet *The Nutcracker* through a distinctly Caribbean lens. Choreographed by principal Bridgette Wilson, the show features a cast of 110 dancers and 20 musicians, including members of the UWI Arts Steel, promising a vibrant celebration of local culture, music, and dance.

Wilson, inspired by the late Patricia Roe’s dedication to making ballet accessible to Caribbean audiences, has transformed the traditional European narrative into a story that resonates with Trinidadian heritage. The Nutcracker becomes the Coconut Cracker, a coconut vendor, while the Sugar Plum Fairy is reimagined as the Sugar Cane Fairy. The siblings Clara and Fritz are now Kyara and Junior, and even the toy soldier is redefined as Soldier Larry, drawing from sailor mas traditions.

The production also incorporates local elements such as a Sahara dust storm replacing the snow scene, with moko jumbies guiding Kyara to the Land of Island Paradise, symbolizing Trinidad and Tobago. Wilson’s vision is to reclaim space for Caribbean culture within the traditionally Eurocentric art form of ballet, showcasing the richness of local traditions on a global stage.

In addition to *The Coconut Cracker*, younger students aged three to eight will perform *Anansi and the Magic Shell*, an original story blending ballet, hip-hop, tap, and modern dance. The costumes, designed by Valmiki Maharaj of The Lost Tribe, merge traditional ballet attire with Caribbean aesthetics, further enhancing the cultural narrative.

Wilson sees this production as the beginning of a larger creative journey, aiming to expand and refine *The Coconut Cracker* in future iterations. Her work not only honors the legacy of CSD but also reaffirms the place of Caribbean culture in the world of performing arts.