Fr Steve Duncan

Among other things, the 2006 edition of Trinidad and Tobago Carnival was really an unprecedented display of the country's national colours.

At the calypso tents, red, white and black, with its varied shades, uses, designs, combinations and styles, was a spectacle to behold, as patrons endured the annual picong, satire, socio/political commentaries, lamentations and nation-building songs, performed nightly across the land.

At the clash between Calypso Revue and Kaiso House , it was striking to see three of the four emcees attired in the national colours. Some wore more red, white or black, according to the desired effect, but all bearing the three colours in one fashionable accord. What a sight it was to see for example, the “Revue angels” all dressed in complete black!

At the first ever four-way clash with Calypso Revue, Kaiso House, Yangatang and Icons, again, one did not have to put on glasses to see the stylish display of patriotism on the historic Queen's Park Savannah stage. It was clear: red jackets, all bearing the white and black stripes, giving the effect of bodies draped with the national flag.

This form of attire identified all musicians in the Icons band, plus emcee, CG. I didn't asked any of the bards why they chose to be attired in the national colours in such abundance this year, but such vivid display has an inescapable power of its own.

I wondered what statement they were trying to make. Could it have been a preview to the “funeral marches” of which Protector spoke, following last Saturday's (Feb 18) “calypso fiasco” at Skinner's Park, San Fernando ?

Or, was it – when placed in perspective with the songs offered, and the other arrangements of colours – a statement of national pride? Was the statement a powerful reminder to Trinidad and Tobago that in spite of the blimps in the way of securing a safe society, the national spirit is still soaring to greater heights?

The more I consider this, the more I arrive at the conclusion that there is a depth of patriotism which has remained embedded in the psyche of our nationals. Though it may not always be visible or even audible for the most part, one knows that, once the patriotic spirit is threatened; there will be an unprecedented resurgence.

It happened on November 16, 2005 , when our Soca Warriors secured victory in Bahrain for Trinidad and Tobago . No one told the nation to wear the national colours in celebration of the game! No one asked us to pull out our national flags of all description and use them to adorn our vehicles and homes!

It was embedded in us! Clearly, a spontaneous decision! We knew instinctively, indeed we always knew, the power of colour! But it took the event – “2006 World Cup football fever”, as it were, to stir it up!

Even as the nation ponders the advent and event of Germany 2006, we are proud to sing with Maximus Dan, “ I'm a soca warrior! ” holding our national colours as we raise our hands in triumphant acknowledgement.

In an era of elaborate headdresses, African and African-influenced clothing and styles worn by most female calypsonians, in portrayal of their songs, the national colours still feature. Their male counterparts seem to opt for red, white and black, they too becoming increasingly more stylish.

At the Calypso Monarch semi-finals, one calypsonian even used red, white and black balloons at the end of his rendition. He managed to rouse an otherwise passive Skinner's Park crowd, offering screams of approval as they ascended, symbolically hovering over a troubled land.

This brings me to another observation. Ever notice how ethnic and ritual dances, particularly from the East Indian and African traditions are entering the performance stage, so as to portray and give meaning to renditions? Sometimes, however, I wonder about the connection between song and dance, but again, like the national colours, they offer a medium for another conversation.

I suppose however, that this has to do with the fact that because the topics for a calypso are beaten year in, year out, in order not to get stale, the style and manner of presentations have to change.

In other words, let the national colours speak to the hearts of the listeners, in such a way that the song may fail to do and the entertainers will go out of their way to ensure that they reach us! Though the topics might be stale and beaten, the colours are fresh and alive, very vivid in the hearts of nationals.

A few years ago, Singing Sandra offered a contemporary interpretation to the red, white and black.

Hers was a reflection regarding the recent happenings and rumblings in the country's socio/economic and political landscape, but that will not and, in fact, did not, divert attention from the original meaning. Red: the colour most expressive of the vitality of our land and people; its warmth, energy and friendliness.

White: the purity of our aspirations and the equality shared by each human person. Black: the dedication of a nation united in a common bond; the richness of our earth. Together then, our national colours are an inspiration to nationals as one, united, vital and free people.

The national spirit triumphs, even in the midst of difficulties! Patriots know what their goal is and pursue it in spite of whatever hindrances might assail them. This sometimes requires unconventional means for, at times, if not always, the tried and tested means are exhausted!

What better medium to use then, in restoring national pride, than a real, profound desire to court with and sport our national colours, in a manner that speaks of utter respect and patriotism. It therefore goes beyond style.

After all, the national colours have a power of their own. When juxtaposed on the intention of the calypso artform to raise the consciousness of the people, then the colourful display of nationhood presents an obvious consideration.