Nadine J Joseph-Collins urges reforms to protect calypso from political influence in Saint Lucia
CASTRIES, St Lucia — The St Lucia calypso judging controversy has triggered national debate following a forceful public statement from Nadine J Joseph-Collins, a lifelong supporter of the Saint Lucia Labour Party. In a candid and detailed commentary, Nadine J Joseph-Collins warns that political interference is undermining the integrity of one of the island’s most cherished cultural traditions.
Published in full below, her statement outlines the historical roots and social value of calypso as an Afro-Caribbean art form and calls for sweeping reforms to restore public confidence in the fairness of national competition judging. Her critique has resonated with many across the political spectrum who believe calypso’s role as social commentary must remain free from political influence.
COMMENTARY BY NADINE J JOSEPH-COLLINS
I know I should not be writing this article, but I feel compelled to say something…
I am a lifelong supporter of the Saint Lucia Labour Party and someone who grew up in a Labour household. I am also a Christian, raised in the Seventh-Day Adventist faith. That upbringing shaped my values of justice and fair play, which continue to guide me today.
Alongside those values, our home was rich with cultural traditions. One of my favorites as a child was our annual tradition of watching the Calypso finals. Those moments opened my eyes to the beauty and depth of our cultural art form and planted a lifelong appreciation for Calypso’s power to entertain, educate, and provoke thought.
Through decades of observation, I have witnessed calypso serve its sacred purpose: as social commentary that brings critical issues to light in a palatable way, as dramatic storytelling that captures the essence of our lived experiences, and most importantly, as freedom of expression. But recent events have compelled me to speak out about what I perceive as disturbing trends that threaten to destroy the very soul of this precious cultural treasure.
To understand what is at stake, we must first appreciate what calypso truly represents. Calypso is an Afro-Caribbean musical tradition that emerged in Trinidad and Tobago in the mid-19th Century. Born from the West African Kaiso tradition, calypso began as a tool of communication among enslaved African peoples, a way to circumvent language barriers imposed by their captors and later to denounce oppression through coded lyrics.
More than just festive music, calypso remains a living testimony of Afro-descendant creativity, resistance, and memory. As cultural historians note, “The soul of calypso lies in its stories…Each verse carries a testimony—from the everyday joys of life to sharp critiques of exploitation and inequality”.
Over time, Calypso evolved into what many scholars call “the people’s newspaper”. The calypsonian became the “narrator” and “interpreter of events,” simultaneously functioning as both reporter and editor. This tradition positioned the calypsonian as “the critic of the status quo, in particular those at the top who are charged with navigating the ship of state”.
In Saint Lucia’s context, the National Calypso Monarch Competition celebrates this essence with “sharp social commentary, humor, and captivating performances”. The competition serves as a forum where the island’s top calypsonians showcase their “lyrical mastery, wit, and storytelling prowess”.
According to the official judging criteria published by the Carnival Planning and Management Committee, St Lucia calypso competitions are evaluated based on clearly defined standards. Lyrics, Music and Performance are the big three categories, with lyrics carrying 40 points, and music and performance each worth 30 points.
Within the lyrics category, judges must assess:
- Theme/Expression/Content (6 points)
- Wordcraft (16 points)
- Composition (12 points)
- Creativity (6 points)
The criteria specifically state that “the lyrics effectively articulate an unambiguously identifiable theme” and that “there is a smooth transition between the verses and chorus depicting the theme via a logical sequence of events”.
These criteria, now available to the public, provide the framework that should govern all judging decisions. The transparency of these standards is crucial for maintaining public trust in the competition’s integrity.
However, my years of observation have raised serious concerns about influences that go beyond these published criteria. The presence of government ministers, the Prime Minister, or other influential political figures in positions where they can be seen by judges creates an environment ripe for perceived bias.
Recent allegations by calypsonian Calixte “Kakal” Xavier are particularly troubling. Xavier claims there was “an orchestrated heckling conspiracy” at calypso tents, with “certain party operatives” asking people to “come in the red shirt and to j at any calypsonians that does not sing in their favor”. Such accusations, whether proven or not, highlight how political considerations can poison the atmosphere of what should be pure artistic competition.
This is not a problem unique to Saint Lucia. Across the Caribbean, similar concerns persist. In Trinidad and Tobago, “the show and its precursor, Calypso Fiesta, have frequently been mired in controversy over claims of bias in the adjudication process”. In Guyana, the government has actually banned calypso songs from state airwaves when lyrics became too critical of corruption.
Dominica faces similar challenges, where the “unfair judging” sentiment has become “as familiar as the calypso tunes themselves”. Even with training workshops for judges, officials acknowledge that “we still don’t have total control over what the judges actually do on the night of the competition”.
Here lies the crux of my concern: Would Labour supporters be comfortable with such allegations of political influence if they were directed at a United Workers Party (UWP) administration? The answer, honestly, should be a resounding no.
The United Workers Party (UWP), which has governed Saint Lucia for significant periods since the 1960s, would rightfully be criticized if similar accusations surfaced during their tenure. Political interference in cultural competitions is wrong regardless of which party holds power. Democracy only thrives when cultural institutions remain independent of political pressure.
The Saint Lucia Labour Party, founded in 1950 to represent “the working class (mainly descendants of African slaves)”, has historically stood for justice and fairness. These same principles should extend to protecting the integrity of our cultural competitions.
When political considerations influence calypso judging, we risk destroying the art form’s fundamental purpose. St Lucia Calypso has been a vital means of expression, and indeed rebellion throughout Caribbean history. By using “double entendre” slaves poked fun at plantation owners and communicated in something close to a secret language.
This tradition of speaking truth to power, of being the “voice of the voiceless,” becomes meaningless if calypsonians must self-censor based on political calculations. Research shows that when governments attempt to control calypso, “many calypsonians have begun to practise self-censorship, and both the artistes and the politicians are using the calypso for political expediency”.
The consequences extend far beyond individual competitions. As one study notes, “if we have an outpouring of such situations, this can be very detrimental to the Calypso art form and the sustenance of the Calypso genre”. We risk creating an environment where genuine artistic expression is replaced by politically safe performances that lack the bite and authenticity that make calypso special. Which is what I found to be a major problem this year.
Several reforms could help restore confidence in our calypso competitions:
- Enhanced Transparency: Following the example suggested by calypsonian “Mistah Shak” in Trinidad, scores should be “publicly displayed immediately after their performance, as with athletes at the Olympics” to prevent tampering.
- Judge Selection Reform: Implementing systems like those suggested in Dominica, where experienced and less experienced judges are drawn from separate pools, could reduce perceptions of favoritism.
- Political Neutrality Zones: Government officials, regardless of party affiliation, should maintain appropriate distance from judging areas during competitions to avoid any appearance of influence.
- Post-Competition Accountability: As suggested by calypso analysts, there should be “post-mortem where judges should be held accountable and responsible for the decisions that they make”.
Why? Because the stakes are higher than politics.
This issue transcends party politics. Whether under Labour or UWP leadership, the integrity of our cultural competitions must be protected. Calypso serves as a resource for cultural resistance and social progress. When we allow political considerations to influence judging, we undermine this vital function.
As someone who has watched St Lucia calypso finals for decades, who understands both its entertainment value and its deeper social significance, I cannot remain silent when I perceive threats to its integrity. The art form that taught me about social justice, that gave voice to the voiceless, that brought our community together year after year, deserves better.
The criteria exist. They are published and available to all. Judges should follow them without consideration of who wrote the song, what political party the calypsonian supports, or which government officials might be watching. This is not too much to ask.
Our calypso tradition, rooted in resistance and truth-telling, must remain a space where freedom of expression reigns supreme. Anything less dishonors the legacy of those enslaved ancestors who first used music to speak truth to power, and threatens to rob future generations of this vital cultural inheritance.
The time has come for all Saint Lucians, regardless of political affiliation, to stand up for the integrity of our cultural competitions. The soul of our art form hangs in the balance.
NOTE: This article incorporates research from various published sources about calypso history and competition guidelines.
Public pressure mounts over St Lucia calypso judging controversy
Nadine J Joseph-Collins’ public critique has intensified calls for greater transparency and independence in cultural judging processes. Her decision to speak out as a committed Saint Lucia Labour Party supporter signals growing discomfort within the party’s own base regarding the influence of political operatives on artistic expression.
With public trust hanging in the balance, the St Lucia calypso judging controversy is likely to remain a flashpoint for cultural and political accountability throughout the Carnival season and beyond.
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