Inspired by the rich culture of Trinidad and Tobago, Tremayne Frauenfelder started creating miniature painted clay sculptures to represent the spirit of the islands. He replicates things such as panyards, traditional mas characters, colonial houses, the Queen’s Park Savannah during Carnival and poui trees in full bloom, or as he calls it "A Slice of our Culture."
One piece can take Frauenfelder a few hours, days, weeks or even months, depending on the subject and the amount of detail needed. The 42-year-old doesn’t shy away from making his pieces hyper-realistic and is determined to spend any length of time to achieve the look he is going for.

On his Instagram page frauenfelder_miniatures, he posts some of the sculptures he has done, including the fixtures that bring the pieces to life. On one of his Instagram highlights, he showed off an antique ceiling light which he completed at almost 4 am after working on it for hours.
Frauenfelder said although he didn't really have a love for sculpting and art, his parents and siblings influenced him to get into it. His journey to becoming an artist wasn’t a straightforward one. 
“I grew up in a house that was conducive to creativity: my parents and elder siblings are creatives. I’m the last of six, so everyone else was already making things and doing art, and there wasn’t any shock when I picked up and started doing the same thing.”
His mother is a seamstress and his father is a carpenter, and they both created mas costumes for the primary school he attended, Mt Lambert RC. He would observe his siblings colouring and drawing, and his sisters even making their own dolls' houses. He said, with a laugh, "The influence to be artistic was clearly heavy."
Frauenfelder said he started sculpting in 2005, but had to stop because life got in the way and it became too distracting to continue. But when he resumed in 2010, he vowed then and there that he would never stop sculpting and creating.
Since then his work, produced in his east Port of Spain studio, has been featured in various exhibits and has been sold to people in Canada, the US and even Jerusalem.
“When the Royal Caribbean cruise ship came to Trinidad, the Ministry of Tourism, Culture and the Arts reached out to me to commission a piece for someone in management. So that piece is probably travelling the world.”
For people interested in buying his pieces, he said the prices of his work vary, and range from $1,800  up.
As for the rate of his sales, he said, “They go quickly. They don’t really stick around and have a nice conversation with me any more. As soon as I’m done, it’s like, ‘Okay, bye-bye.’”
Asked if he would ever offer classes, he said, “I have thought about it, but I decided not to, because I don’t know how serious anybody would be to really want to put the amount of money, patience and time.”
He has offered three workshops before, but has come to the conclusion that in order for someone to properly develop the skill would require a college-course layout that spans a few months.
He said when he first started creating hyper-realistic pieces he was clueless, but during his research he found a favourite artist on YouTube. He advises young artists to do the same.
“If you had said to me as a child that one day I can live off my art and exhibit, and that people from different countries will contact me to do commissions for them, I would have doubted you.”
He tells up-and-coming artists: “Just do it.” (Source: Newsday, March 18, 2023)

RADHICA DE SILVA  radhica.sookraj@guardian.co.tt
A grand celebration is being planned for Naparima Girls' High School's 19 scholarship winners next Monday, as the school has copped the lion's share of national scholarships for 2023.
Speaking to Guardian Media yesterday, school principal Karen Bally said she was delighted that despite the odds, the school has continued to excel not only academically but also in co-curricular activities.
She said the love and support that teachers showed to students during the pandemic bore fruit, as was evidenced in the number of scholarships they won.
All of the students spent the past two years doing online classes.
"Our staff members went above and beyond, answering emails, correcting work and sending back work all hours of the morning and night. They really embraced the technology and ensured that all students attended the online classes," Bally said.
When students failed to attend online classes, Bally said the teachers reached out to parents to find out what was wrong. For those parents who lost their jobs, the school used funds from the Past Students Student Aid Fund to equip students with devices and connectivity. They also helped with groceries and teachers formed online clubs to maintain social interaction with children.
"We took care of their mental, social and emotional well-being. In cases where parents lost jobs and students were struggling, our past students counselled where necessary and ensured that all financial needs were provided for," she added.
Bally said the sisterhood which existed at NGHS was responsible for the continued success of all students.
"We always want what is best for our students. When they come to us, they become ours and we do our best to make sure they succeed not only in academics but in every other way so they become their best self," she said.
She noted that the key to Naparima's success was strong partnerships with all stakeholders.
Meanwhile, the Presbyterian Church also congratulated the students.
"We are extremely grateful for the hard work and sacrifice of all our principals, teachers, students and parents of our five Secondary schools who have contributed to this success. Our schools received 39 scholarships out of the 100 awarded with Naparima Girls’ High School receiving nineteen, St. Augustine Girls’ High School receiving nine, Hillview College eight receiving eight and Naparima College receiving three," the PCTT said in a statement.
A total of 100 scholarships were awarded this year, of which 32 were open scholarships and 68 were national scholarships. (Source:  T&T Guardian, March 3, 2023)

​Dolly Nicholas is the first and only woman in Trinidad and Tobago to receive a national award for scientific invention? Nicholas, who has filed twelve scientific patents over the course of her career, was awarded the Public Service Medal of Merit (Silver) in 1990 and the Chaconia Medal (Silver) in 1999 for her contributions to the field of science and technology.
Dolly Nicholas (née Mungalsingh) was born in 1952 to a large family in Gasparillo. She attended Gasparillo Government Primary School and Naparima Girls High School before earning degrees in environmental polymer chemistry and analytical chemistry at universities in Canada.
After graduating, she began working at Lake Asphalt of Trinidad and Tobago Limited, where she conducted experiments in the laboratory’s facilities and emerged with a range of unique paints, adhesives and coatings. She eventually became the company’s Research and Development Director.
Between the years 2000 and 2017, Dolly Nicholas filed twelve patents for various methods of working with asphalt. One of her recent patents is a process that converts plastic bottles into usable products like epoxy coatings. In addition to this work, Nicholas is involved in programmes that aim to encourage women to pursue careers in science and innovation.
This photo is courtesy of the book, “Why Not A Woman?” (1993) compiled by Radhica Saith and featuring photography by Mark Lyndersay. The book was published by Paria Publishing Company Limited in 1993 and it is now part of the National Archives of Trinidad and Tobago Reference Library.
References:
“Dolly Nicholas.” Icons, 1 June 2018, icons.niherst.gov.tt/icon/dolly-nicholas-cw/.
“Dolly Nicholas Inventions, Patents and Patent Applications - Justia Patents Search.” Justia, patents.justia.com/inventor/dolly-nicholas. (Source: Virtual Museum of Trinidad and Tobago, August 7, 2022).

MYTHS AND SUPERSTITIONS.
As a Trini child growing up in 60s my mother did not go to the hardware to buy a broom
She made her own cocoyea broom made from shaft of the coconut leaves. The elderly still believe nothing could sweep the floor and yard like a cocoyea broom since it can remove debris and dust from hard to reach corners , even under beds. Remember growing up with this saying " a clean sweep".
But the cocoyea broom according to village elders was also a powerful weapon against evil spirits. It was used by village obeahman to beat off evil spirits from those possessed. It was also used to perform ritual of "jharaying" to heal persons with "malyeax" ( maljeau) . Today in our home you will still find two cocoyea brooms which we use to sweep the yard. Swifter jet sweepers are now the more popular sweeping tool in the home.
Oil Painting of East Indian Woman making a coconut broom from coconut leaves .( Model Carmelita Bissessarsingh) Painting done by Historical Artist Rudolph Bissessarsingh ( father of Angelo Bissessarsingh)
(Source: Virtual Museum of Trinidad and Tobago, Dec 28, 2022)

NOW Morning ShowTalented Trinidadian actress, Khadija Glasgow-Speer, continues to make waves internationally, as she concluded 2022 co-starring alongside popular American actor, Morris Chestnut, in veteran director, Malcolm D Lee’s, “The Best Man: Final Chapters.” Find out all about it as Khadija chats with Natasha about her experience.

​The renowned veteran Masman, Peter Minshall, is one of Trinidad and Tobago’s most influential icons of Carnival!
Minshall was born on July 16th 1941 in Georgetown, Guyana and his family migrated to Trinidad and Tobago in the late-1940s. He grew up in POS where he was exposed to Carnival from a young age, before leaving to study Theatre Design in London.
After graduating, he worked in costume design and mas. He became part of the multi-ethnic West Indian Theatre, as well as Notting Hill Carnival, where he was one of the first persons to design costumes.
When he returned to T&T in 1974, he brought these experiences with him to create his “From The Land of the Hummingbird” costume for his sister Sherry-Ann Guy (Coelho). It showcased one of his earliest innovations: the articulated bird wing.
In 1976, he designed his first full Carnival band “Paradise Lost” which won the 1976 Band of the Year title. In 1978, he produced “Zodiac”, followed by 1979’s “Carnival of the Sea,” which won Band of the Year in all categories.
His monochromatic “Danse Macabre” (1980) and “Tan Tan and Saga Boy” (1990) showcased his creativity in movement, with the two towering, 15-foot dancing mobiles of Tan Tan and Saga Boy being moved by just two individual performers.
Minshall appreciated the value of mas as a form of creative expression, and his Carnival creations and trademark dancing mobiles garnered international acclaim. He was invited to design and direct segments of the Summer Olympics in Spain in 1992 and in Atlanta, Georgia in 1996, followed by the Winter Olympics in Salt Lake City in 2002.
In 1982, Minshall was awarded a Guggenheim Fellowship, the Trinity Cross in 1996 for Art and Culture, and Trinidad and Tobago’s first Emmy Award for his segment in the Opening Ceremony of the 2002 Olympic Winter Games.
Photo 1 shows Carol Aqui as "Madame Cocette", designed by Peter Minshall, from his 1981 Band of the Year. This photo is from the 1981 Trinidad Carnival Magazine, Special BWIA Souvenir Edition which is part of the National Archives of Trinidad and Tobago Carnival Magazine Collection.
Photo 2 shows Sherry-Ann Guy winning Individual of the Year in 1974 with her “Humming Bird” costume created by Peter Minshall.
This photo is courtesy of the magazine, “Trinidad Carnival 1974: The Greatest Spectacle on Earth” which is part of the Nasser Khan Carnival Magazine Collection at the National Archives of Trinidad and Tobago.
References: Bastien, Elliot, and Sandra Bernard-Bastien. World Class Trinidad & Tobago: an Area of Abundance: Profiles of Performance. Sekani Publications, 2006.
Pacifique-Marshall, Virginia, et al. The Carnival Suite: a Collection of Traditional Carnival Characters of Trinidad and Tobago. StarApple, 2014.
(Source:  National Archives of Trinidad & Tobago, Feb 18, 2023)

The record-holder for most Band of The Year Titles is master designer, Wayne Berkeley! Known as the bandleader responsible for bringing fantasy mas to Carnival, Berkeley’s costumes resonated with masqueraders who had known only historical presentations during the 1950s-1960s. His intricate and creative designs heralded a new form of mas, which brought a degree of imagination and variety to Carnival that continues to live on.
Born in 1940, Berkeley grew up in Belmont, opposite the mas camp of Harold Saldenah. During the 1950s, he attended St. Mary’s College while studying Art under one of Trinidad’s leading artists, M. P. Alladin, and his artistry flourished. Upon graduating, he moved to London for a few years where he continued studying art while working for the BBC as a set designer.
He soon returned to Trinidad, bringing with him all that he had learned and became a professional designer, working on movie productions, and art exhibitions. In 1965 he was asked to design his first Carnival band, and also designed his first Carnival Queen costume for Pauline Figueroa, which won the 1965 Jaycees' Carnival Queen contest and catapulted Berkeley to nationwide fame.
Berkeley’s designs were professional, meticulous and resourceful, utilising local items like cocoyea sticks, straws, shells and old casks to create his costume pieces. Over his 50-year career he produced eighteen bands, with nine of them winning Band of The Year. In addition to mas, he also designed Carnival Queens, with his presentations winning twelve times.
In 1974 he was awarded the Humming Bird Medal (Gold) for his contributions to Carnival, as well as the 2004 Cacique Lifetime Award for his contributions to Theatre, as he was constantly in-demand abroad in Europe and the United States as a theatrical designer for Vegas musicals, and art exhibitions.
Photo 1 shows Johnny Boos as “Jewel of Ceylon” in Wayne Berkeley’s “Kaleidoscope,” the 1974 Band of the Year, courtesy of the Trinidad Carnival Magazine, Special BWIA Souvenir Edition, 1974.
These magazines are part of the The National Archives of Trinidad and Tobago Carnival Magazine Collection.
References: Lindo, Paula. “Berkeley Mas Re-Enters Carnival with Tradition Reimagined.” Trinidad and Tobago Newsday, 5 Feb. 2023.
Jacob, Debbie. “Wayne Berkeley: Trinidad’s King Carnival.” Caribbean Beat, 1992.
(Source: National Archives of Trinidad and Tobago, Feb 17, 2023)

FROM The HEART…
Anyone who knows anything about me knows that I love music. It is key to all that I do. The truth is one of those early artists who centered me and gave me context and perspective was Black Stalin. He had a way of drilling down always to the core - his message always rooted in truth, justice and solidarity.
Black Stalin was one of our region's finest masters of calypso; both his lyrics and his melodies expertly captured the rhythm and vibe and voice of the Caribbean.
He was accutely conscious of our shared history, culture, passions and concerns and expressed them in his songs in a way we never could ourselves. In the true tradition of calypso, Stalin was also a griot, chronicling the issues and philosphies impacting our daily lives.
No more so was it evident than in that iconic Caribbean Anthem that remains our Holy Grail of the Caribbean Civilization. Who else has more poignantly reminded us that “we are one people on the same trip coming on the same ship”; “pushing one common intention for a better life for we women and we children. That must be the ambition of the “Caribbean Man””; even more so, as we get ready to celebrate 50 years of CARICOM in 2023!
Not to be limited to the Caribbean region, Black Stalin emboldened those of us fighting the consequences of colonialism and the horror of apartheid with his exhortations to Peter in “Burn Dem”. This was a powerful reminder of the exploitation and the oppression of black people by whoever and wherever! Yes his intention was achieved - to empower us with the resolve to keep fighting the battle for Justice.
Black Stalin’s songs were really about Nation Building, a task to which he was as committed as any Caribbean leader. Yes, he reminded us early on that “Dorothy” and the tales of jamming her would have to take second place to his concerns as to where the oil money went.
But perhaps his most far-reaching song was yet another anthem - that of the “Black Man”. After centuries of dehumanization of the Black Man and the Black Woman, Black Stalin validated the importance and dignity of the Black Man (after all his hard work and struggles) to be able JUST to fete with his woman.
Yes he saw us all!
Our Black Stalin reminded us of the real concern of “Sufferers” - not to be wallowing in bigotry nor to be used as a background for many others in their causes but in being singularly concerned as to where the next meal is coming from. Never forget it!
We give thanks for the life, work and passion
of Leroy Calliste who at the time of our Caribbean Nation Building reminded us always that “We can make it if we try”.
I was unapologetic in using its power of inspiration. A song without boundaries and sovereignty - a tribute simply to the human spirit. This was one of the key songs that I chose during the COVID 19 Pandemic to use on the highways and by-ways across Barbados as we worked to encourage our people to stay the course and to keep our heads above water.
We urged as he would - as we all knew - that if we simply try and work together “Better Days are Coming!”
We in the Caribbean have lost one of our greatest Nation Builders. Each word of his, each sentence of his, carefully crafted by a Maestro to to tell OUR story of the Caribbean and OUR people. OUR STORY!
May we work hard to keep his music alive across this Caribbean with each succeeding generation.
May his work inspire others as it has me on my life’s journey!

he ancient whip-making process that our local #CarnivalArtisans use for traditional Jab Jab whip fighters. This Mas is a form of martial arts passed down by our ancestors.
: Shown here is the Original Whip Master, Mr. Ronald Alfred from Couva, Trinidad.
Courtesy Export Centres Company Limited, T&T (Source: Omardath Maharaj, Feb 3, 2023)

From generation to generation....16 year old Jude Charleau portraying the Dame Lorraine "Madame Bosee, the Old Woman and the Shoe" today at the savannah for Junior Individuals, Boys 11-17. His mother Tracey Sankar-charleau and her sister Nadia Sankar played this Mas with their mother June Sankar. Tracey's daughter Nathaniel and another of her sons Joshua have also played this Mas.
Jude made the amazing shoe that you see on his back. Stunning details.
While the Dame Lorraine is played extensively by women today, it is a mas originally played by men. Jude made his own costume and the attention to detail was striking. What you can't see in this photo is that he had an exquisite shoe on his back. Will share a view of that in another post.
"At the start of the 19th century, Trinidad’s upper-class ladies dressed for masquerade balls in voluminous flowing gowns. Decked with exquisite jewellery, they danced elegantly through the night — observed through the windows by their slaves and servants. Naturally, these aristocratic ladies and their refined airs were prime targets for mockery when the freed slaves held their own Carnival celebrations, and thus evolved the burlesque character of the Dame Lorraine.
Copying the ladies’ fine gowns with whatever materials they could find — assorted rags, makeshift fans and hats, shiny objects imitating jewels — the masqueraders mocked the pretensions of respectable society. Over time, the Dame Lorraine mas became more elaborate. Heavily padded breasts and posterior reinforced the parody, and a large “pregnant” belly hinted at less than immaculate morals. Fine wire mesh masks, with eyes and mouth painted in, lent the masquerader the safety of anonymity. In Port of Spain’s backyards, the Dame Lorraine evolved into a theatrical event, enacted at midnight on Carnival Sunday for an eager audience. Imitating the stately scenes at the old plantation balls, a “butler” introduced arriving couples, who then performed exaggerated versions of formal dances, accompanied by small cuatro bands.
...Beneath the masks were cross-dressing men, many of whom happened to be the descendants of the very French planters they were mocking." Dylan Kerrigan, Creatures of the Mas, Caribbean Beat, Jan/Feb 2005
#damelorraine #traditionalmas #carnivalheritage #carnivaltraditions