Once a Trini reach in yuh Fete is Nicencess! Examining Fetes as the driver for carnival innovation, through an analysis of its aesthetic and non-aesth

特立尼达狂欢节和特立尼达风格的狂欢节仍然是一个受欢迎的节日，吸引了成千上万的参与者。根据人口约140万的特立尼达中央统计局的数据，这个节日每年吸引近4万名游客。诺丁山狂欢节和多伦多加勒比狂欢节分别吸引了大约100万人。正如纳斯所说，它可以说是“全球最被复制的狂欢节，复制了纽约、伦敦、多伦多和利兹等印度社区”（纳斯，2004年第246页）。几十年来，特立尼达和多巴哥的狂欢节被定义为围绕三大支柱：Calypso、Steelpan和假面舞会。因此，特立尼达负责狂欢节的政府机构——国家狂欢节委员会，每次狂欢节都会向代表这三个实体的组织提供补贴。狂欢节中的Fetes是贯穿整个狂欢节季节的派对活动，通常在圣诞节之后开始，在圣灰星期三之前结束。特立尼达风格的嘉年华会形式多样，比如乘船巡游，或者自带酒水的“更酷”的嘉年华会。它们通常在户外举行，包括用于艺术家或DJ表演的主舞台、高级空间、酒吧和食品区，以及任何其他活动。可以说，它们是近年来节日中最受欢迎的元素，正在成长为一个子产业和更大的狂欢节文化。然而，这是一个经常被其他支柱的从业者和研究人员所忽视的部门，因为一些人认为它只是商业冒险，削弱了我们狂欢节的历史和传统方面。在寻求突破的过程中，提出的研究将调查作为狂欢节的第四大支柱的节日，在工业和表演方面，为其参与者和特立尼达和多巴哥的狂欢节文化产生意义。对节日作为一个产业的考察将调查其作为狂欢节第四支柱（官方或非官方）的产业组织定位，以及对狂欢节三大传统支柱的影响。对“节日表演”的探索将集中在其设置的美学、艺术性和个人、数字和社交媒体上的表现。它还将研究这个空间是如何并将继续成为抵抗和社会政治紧张的场所。总体目标是调查其商业成功的假设之外，这个部门如何以及为什么改变我们的狂欢节景观的重要性，以及哪些学习经验，无论好坏，可以用来为全球整个节日带来积极的变化。此外，由于COVID - 19大流行，缺乏允许这种形式的游戏的节日和场所，因此评估此类活动在社会中的价值非常重要。

The Trinidad Carnival and Trinidad-style carnivals remain a popular festival attracting thousandsto millions of participants. According to Trinidad's Central Statistical Office, with a population ofabout 1.4 million people, the festival continues to attract close to 40,000 visitors each year. Boththe Notting Hill carnival and the Toronto Caribbean Carnival attract an estimated 1 million peopleeach. As Nurse puts it, it is arguably "the most replicated carnival in the globe, with replicas indiaspora communities like New York, London, Toronto and Leeds" (Nurse, 2004 p.246). Fordecades, carnival in Trinidad and Tobago was defined as built around three pillars: Calypso,Steelpan and the Masquerade. As a result of this, the government agency in Trinidad responsiblefor carnival, the National Carnival Commission, grants a subsidy to the organisationsrepresenting those three entities each carnival. Fetes in the carnival are the party events thattake place throughout the entire carnival season usually starting just after Christmas andculminating before Ash Wednesday. For Trinidad style carnivals, fetes take on a variety offormats, such as a boat cruise or a "cooler" fete, i.e. bring your own booze. They are typicallyheld outdoors and would include the main stage for any performances from an artist or DJ, adance space, bar and food areas, as well as for any other activities. It can be argued that theyare currently the festival's most popular element in recent times, growing into a sub-industry andthe larger carnival culture. It is, however, a sector that is often overlooked by the practitionersand researchers of the other pillars as some view it as only commercial ventures thatdiminishes the historical and traditional aspects of our carnival. In its quest to beground-breaking, the research proposed will investigate fetes for consideration as the fourthpillar of carnival, in both industry and performance, generating meanings for its participantsand the carnival culture of Trinidad and Tobago. The examination of the fete as an industrywill investigate the industrial organisation of its positioning as carnival's fourth pillar, officiallyor unofficially, and the implications for carnival's three traditional pillars. Exploration of the"performance of the fete" will focus on the aesthetics of its setting, artistry and representation2in person and on digital and social media. It will also examine how this space has andcontinues to be a site for resistance and socio-political tension. The overall aim is toinvestigate beyond assumptions of its commercial success, the significance of how and whythis sector is transforming our carnival landscape, and what learning lessons, good or bad,can be used to bring positive change to the entire festival globally. Moreso, in the absenceof festivals and places that allow this form of play, due to the COVID pandemic, the value ofsuch events in society is important to assess.