'The greatest show on Earth' closed its curtains last Tuesday night after the usual heights of revelry which accompanied the grandest, most spectacular displays of colour, theatre, masques and music to be seen anywhere in the world. This would have been witnessed either at Carnival in Rio or Carnival in Port of Spain, and which of the two will claim the title of 'the greatest' depends on whether you are Brazilian or Trinidadian. Both peoples are unreservedly nationalistic about their festivals.

In Rio de Janeiro, Brazil, it ended with the floats, costumes and masques of the samba schools (community bands) parading through the streets to the rhythms of samba music. There is fierce competition for the top prizes given to the band with the best combinations of lyrics, music, costumed bands and dancing. The size of the bands run into several thousands, accompanied by musical sections consisting of hundreds of samba drums.

In Port of Spain, Trinidad, all public revelry on the streets came to an abrupt end, the music being switched off promptly at midnight on Shrove Tuesday as the law requires. Carnival is not supposed to carry over into Ash Wednesday, when Lent begins. At the grand, theatrical Dimanche Gras show on Sunday night in the Savannah, the usually caustic, controversial Sugar Alloes beat the old master, the Mighty Chalkdust for the 2002 Calypso King title. Tuesday was the zenith, with the very large costumed bands depicting themes ranging from fantasies to abstract concepts and history, and just as in Brazil, competing for various prizes. Monday morning was J'Ouvert (opening of the day), historically the official beginning of a two day carnival, when small bands exhibit satirical themes, commenting on the topical political and social issues in Trinidad. The many Carnival championships and competitions include the dazzling Panorama, the best exhibition of steel band music in the world.

Both of these contestants for the title 'greatest show on earth,' although known for excessive revelling and the jettisoning of inhibitions, are built on long, historical social traditions. They are strong cultural flagships for their countries which they have made world famous. They are driven by the imagination, artistry, indigenous music, theatrical traditions, masquerades, lyrical composition and creative costume design.

These carnivals are major events - rich tourist attractions, because of their attributes of entertainment, exoticism, tradition and participation. Visitors are attracted because of the spectacular; they can witness something of a foreign country's cultural life, see a performance, but can also participate in that performance. The combination of these factors, added to the fact that they are old traditions, guarantee large numbers of arrivals. By now, they have character, definition and a place on the annual calendar, which make it easier to market them.

The carnival tradition in the Eastern Caribbean dates back to the late eighteenth century and originated in the French islands before experiencing its most pronounced development in Trinidad after 1783. After a history of racial segregation, class struggle, lawlessness, defiance and genuine socio political resistance, its artistic strength and multi racial character evolved. It has pervaded the Trinidadian society in a very profound way, generating its own sub culture. Nevertheless, several of the old traditions have faded away and much of contemporary carnival exhibits a sometimes disturbing character of mindlessness, triviality and cultural dilution. These, however, have not shaken it as a national festival.

This Eastern Caribbean tradition never included Guyana because of the details of history. Yet, the practice of street theatre was common throughout the region and street tramps, steel bands and costumed bands were known in Georgetown. These, however, did not evolve or lead into Mashramani, which is now Guyana's major national festival. It does not benefit from a history as long and rich as carnival's, but was created by decree to celebrate the nation becoming a Republic in 1970.

The name Mashramni capitalizes on indigenous cultural heritage. It comes from an Arawak word 'mashirimehi,' meaning voluntary work done co-operatively. But the festival itself is not a descendant of any Amerindian tradition. With no real traditional evolution to strengthen it, Mashramani is somewhat undefined without that indigenous cultural character that identifies most other national festivals. Its chequered political history has affected it negatively, contributing to this diffusion. This has included the alienation, at different times, of sections of the population.

Yet, a manufactured festival such as Mashramani can still succeed if it outgrows those past divisions and if the present generations work to make it as classless and as free of racial connotations as the Trinidad Carnival is. Since 1999 it can be said that the present government has abandoned its previous lukewarm attitude and has thrown its energies into the planning and promotion of the event. It has been noted, too, that the population as a whole turns out on the streets for the grand picnic on February 23. It is now such a popular tradition that, whatever form it takes, it is growing as a national event.

The most significant problem today, however, is in that very subject of form. In that area, Mashramani is weak. The artistry in design of costumed bands belong to the legendary past of the seventies and early eighties. Today's bands are very small, consisting mostly of T shirt parades, devoid of colour, concept, design and creativity. The music is not Guyanese. The festival is carried by the soca of Trinidad and Barbados and the reggae/dub of Jamaica.

Still, an eventual take over of local music is a nationalistic dream and it is impractical at this time to try to insist that all bands must play only Guyanese music. While it is not impossible and while it is worth trying and ought to be tried, indigenous music has to be enforced gradually, consistently and systematically. This is so because local calypsoes and other recorded Guyanese music are not strong enough. They are severely limited in volume, quality and popularity. First, the quality, craft and appeal of the compositions need much improvement to compete with their imported equivalents. Secondly, there is no music and recording industry to assist in promotion and sales. The music is not properly available to the public. Then, thirdly, it is not supported by the public. Were it available, it is unlikely that the Guyanese public would buy the records. There can be no music industry if the public does not buy the music. Neither can it thrive if the music is pirated as seems to be the norm in Guyana.

All of this makes it ridiculous to talk about a 'Road March.' There can only be a real road march if there is some meaningful system of popular acclaim. In Mashramani there is none; the songs offered for this 'title' in 2002 are sub standard and obscure and no Guyanese music is sustained on the road. A very important consideration, however, is that no one can prescribe for a popular festival of this nature, which evolves as the people would have it. It is quite conceivable that Mashramani is really a grand national street lime and outdoor picnic with no pretence at artistry or theatrical tradition, and wants to be nothing more.

Yet, it is quite different in the children's competitions. Although the administration and stage management are poor, the creative work is admirable. The real gains from the performances of the children under seven is dubious since they can only perform meaningfully if they are properly trained, which they often are not. But what is produced by the older children and teenagers is very encouraging. Here is where one finds genuine attempts at art. The dramatic poetry, calypso, costumed masques and interpretive dance chart the way for future Mashramanis, and since these contests are very popular, there is a great store of talent and enthusiasm to build on.

This can be the basis for systematic tutoring in theatre, music and dance in schools. Drama in Guyana is moribund and here is basis for a likely revival. The senior Mashramani, also, could incorporate dramatic poetry and performed plays competing for awards, and even playwriting, poetry and short fiction in a Mashramani literary competition. Perhaps it is easier to have such contests at schools' level where activities are more controlled and organized, but the senior national Mashramani can learn from them in the injection of creativity, depth and character into the festival.

Even as it is, this tradition has its place in Guyanese society and can even contribute to tourism. But it has the potential to be much more than a picnic, can exhibit greater cultural strength and do more for the nation. There are strategies that may be employed to guide its development and much of that is happening, but generally, a powerful national festival is likely to evolve out of spontaneous popular acts and deep rooted traditions.