Showing posts with label .mas man. Show all posts
Showing posts with label .mas man. Show all posts

Saturday, November 21, 2015

Mas Man’ Film on Peter Minshall Continues Awards Streak


Mas Man, a film about artist-designer Peter Minshall, produced and directed by Dalton Narine, won the Long Beach International Film Festival prize (http://www.longbeachindie.com) for Best Feature Documentary on Oct. 11, in Long Beach, a city in Los Angeles County.

Dr. Daniel Walker, scholar, filmmaker and founding director of the illustrious festival, spoke about the film’s appeal and the jury’s decision.

“As a person who wrote a book about the political dimensions of festivals in Cuba and New Orleans, I know I had a high bar to impress, and the film did all that and more.”




A few weeks earlier, Narine had hoped Mas Man would fare well at the Fine Arts Film Festival in Venice, Los Angeles. “The film drew enthusiastic appraisal from the audience,” Festival director Juri Koll said.
Dalton Narine, producer/director, Mas Man, wins
Long Beach International Film Festival
 Best Documentary prize, the film’s 15th award
“Mas Man is, above all, a fine arts film,” Narine says, “though juries at fifty or so festivals around the world, had promoted it in every category imaginable.”

Still, with the film’s latest success, coupled with the tourism prize it received at Document Arts Fest in Bucharest, Romania (as well as its screening in Cannes) both in the past year, Mas Man has amassed 15 prizes across the board. They include Best Film, Best Director, Best Cinematography and special awards.

Narine says he pushed the film in the Los Angeles area because Don Mischer, a Hollywood producer featured in the film, was a key figure in tapping Minshall, the masman himself, for the Barcelona Olympic Games’ opening ceremonies in 1992.
Minshall reprised his role as an artistic director of the Emmy award-winning opening ceremonies at the1996 Atlanta Games, and Salt Lake City Winter Games in 2002, for which he received an Emmy.

That Mas Man made an auspicious debut is testament to its staying power.

Peter Minshall, remembered as Best artist/designer in
Trinidad's Carnival for three decades (Photo: Courtesy Dalton Narine)
 
A full-house screening in New York City’s Greenwich Village, proved that Narine and his crew could transform a pastiche of scenes that won the People’s Choice Award for Best Feature Documentary at the 2009 Trinidad & Tobago Film Festival to the top tier of the New York Film Festival in 2010.
 “In Trinidad, we had a week to put it together,” Narine recalls, “just so the public would get an inkling regarding what the noise was about. It was a ways from being a film. Not even a work in progress. Call it ideas.”

Narine credits not only Callaloo Company’s Peter Minshall and Todd Gulich, but also filmmakers Benedict Joseph and Danielle Dieffenthaller, editor Eduardo Siu, Pennelope Beckles,Trinidad and Tobago Film Festival founder/director Dr. Bruce Paddington, as well as Trinidad & Tobago Film Company and GISL for their contribution, particularly as the film underwent a period of gestation.
From left,Todd Gulich, managing director, Callaloo Co.,
Peter Minshall, an artistic director of the 1996 opening ceremonies for the
 Atlanta Olympic Games and Hollywood producer Don Mischer,
 on eve of the Emmy Award-winning extravaganza. (Photo: Callaloo Co.)

Back then, to accommodate festivals, it required Narine to transfer Mas Man to HD hard drive and Blu-ray.

“Today, the medium is Digital Cinema Package (DCP), and we had it mounted, at huge cost,  in Hollywood, where the film had a screening at the legendary Ricardo Montalban Theater at Hollywood and Vine.”

“Now, it is screenable at any movie house anywhere in the world,” Narine says. “I would love to have the 89-minute version shown at MovieTowne in this format. Of course, at the behest of Minshallites everywhere, we’ve been pushing a longer cut at 145 minutes on DVD.

Peter Minshall’s Papillon,
about the ephemeral nature of life,
a 2.000-strong portrayal in 1992 Trinidad’s Carnival
(Photo: Courtesy Callaloo Co.)
Mas Man has been screened in Asia, Africa, North America, South America, Europe, Australia and the Caribbean. The film received Best Caribbean Film award in 2012 at a red carpet festival in Antigua that included a couple of American actors, a filmmaker from India, and the chair of Columbia Universitys School of the Arts film division. It also prompted a stir of excitement in Jamaica media a few months ago.

But to Narine’s delight, a few Trinidadian students at US universities have studied the film as their thesis toward a master’s degree. And a group of UWI students chose the work for a class project a couple of years ago.

Mas Man, along with eight earlier Narine documentaries about T&T’s mas/pan culture, are available at masmanthemovie.com, Crosby’s, Cleve’s, Paper Based Bookshop (located at the Normandie Hotel), The M Store (Piarco Airport) and Sanch Electronix, Curepe.


Tuesday, August 06, 2013

Dalton Narine's 'King Carnival' at BFI We ♥ Carnival Screenings 2013


The Dalton Narine film King Carnival (1994) will feature in the 'we love carnival' series at BFI South Bank London on Saturday 10th of August from 11:00 AM.
Stephen Rudder's 'Sequins Soca and Sweat' (2006) will also feature on the bill.

"Screenings and previews of new work, live performance and discussions exploring the art, history, culture and politics of the Caribbean Carnival in London and Trinidad. The day will be hosted by Michael La Rose of Savannah View and chair of the George Padmore Institute with special guest, director Horace Ové. Films include King Carnival (UK-USA-W Ger 1973. Dir Horace Ové. 50min); King Carnival (Trinidad 1994. Dir Dalton Narine. 61min); and Sequins, Soca and Sweat (UK 2006. Dir Stephen Rudder. 49min).
Tickets £7.50"




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Saturday, August 25, 2012

29 Things Young Designers Need to Know

I came across this article on BonExpose.com the advise comes from one Doug Bartow of id29.
The advise is sound, and even though this was written for graphic designers any type of designer will do good to take note of the advice. Have a look lets learn and improve our game,some of us might be doing some of it already some of us might learn something new. Under the poster I copied some of the points that may be more relevant to the mas game.



2. PLAY NICE
People you work with and for will make your blood boil from time to time.
Whenever possible, be a pro and take the high road. Avoid burning bridges, as people change jobs more often than they did a generation ago.
Your paths may cross again in a much different situation, and having a good working history together will make rehiring you easy.
Apply this to your online persona as well.
Anonymous jabs are petty—be better than that.

4. DEFINE YOUR AUDIENCE
Who are you speaking to and what is the objective?
If you can’t definitively answer both of these questions about a project you’re about to start working on, go back to the drawing board.
Graphic design is simply a plan that visually articulates a message. Make sure you have the message and its intended viewer sorted out before you start making.
Communicate with purpose—don’t just make eye candy.

5. BE YOURSELF
Be confident in yourself as an author, designer, photographer, creative.
Don’t work in a particular personal style. Rather, develop a personal approach to your creative work.
Your commissioned work should never be about you, but it can certainly reveal your hand as the designer.
As your work becomes more well-known, you will get hired for exactly that. For your personal work, don’t be afraid to tell your story.
No one else is going to do it for you.

7. COLLECT AND SHARE EVERYTHING
Find and save relevant and interesting things and pass them along to your friends, co-workers, followers and clients. Use the web and social media to share your own photos and work, as well as the work of others you find engaging.
Be funny, serious, irreverent, businesslike, self-promotional, curatorial, whatever—just be yourself.
For everyday inspiration, surround your workplace with the design ephemera you collect (see No. 5).

8. BE A DESIGN AUTHOR
Develop ideas. Write them down, edit them, share them and elicit a response.
Poof! You’re a design author. Read design blogs and participate in the discussions.
Have an opinion. If you find yourself spending hours a week contributing to other designers’ blogs, consider starting your own.
The cost and effort for startup are minimal, and the opportunities are diverse.

9. BUILD YOUR BOOK
One piece of advice I give young designers looking to fill out their portfolios is to find the best local arts organization with the worst visual brand identity or website and make a trade.
They get some great design work, and you get creative control and real-world projects in your book that other potential clients will recognize.

13. DEFEND YOURSELF
One of the biggest benefits of a formal design education is the lessons learned in the crit room defending your work in front of your instructor and peers.
If you can articulate your ideas and design process in that hostile environment, learning to do the same in client meetings usually comes easy
(see No. 21).

21. SEEK CRITICISM, ACCEPT PRAISE
As a designer, listening to your ideas being questioned and your hard work being ripped apart isn’t usually very pleasant.
However painful, though, constructive criticism of your design work is the most effective way to grow as a visual communicator.
Remember this when you leave the crit rooms of design school for the boardrooms of the corporate world.
Build a network of friends, co-workers and mentors you can use to collect feedback on your work.
Online sites (heavy with anonymous commentary) are not an acceptable substitute for this discourse.

23. KNOW YOUR HISTORY
Learn as much as you possibly can about the history of graphic design—its movements, terminology and important figures.
Understanding design’s cultural past will help you design in the present and future.
Study typefaces and their designers, and share with your clients the significance and history of the particular typefaces you’ve chosen for their projects

25. MAKE MISTAKES
Take a measured break from your comfort zone and experiment with an approach you’ve never tried before.
Force yourself to take chances with form: Use a different technique or medium with text and image to create work you’re unfamiliar and uncomfortable with.
Save and display your best piece as a reminder to think differently.

26. KEEP A SKETCHBOOK
You don’t need to be prolific at drawing to benefit from keeping a small book in your bag or back pocket.
Ideas tend to arrive at the strangest times, and being able to record them on the spot will help you remember them later.
When you fill a book, date, number and shelve it. Soon your bookcase will be a library of your best thoughts and ideas


29. TEACH OTHERS
Regardless of your experience, get involved with mentoring younger designers—or students who may be interested in design as a potential career path.
It doesn’t require developing a curriculum to get involved. Find a local AIGA chapter, design program or arts center and volunteer some of your time.
Participate in local student portfolio reviews, and share your knowledge and expertise with aspiring designers.
You’ll find the experience rewarding for everyone involved.

source: http://bonexpose.com/

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Monday, May 07, 2012

Mas Man—A work of art: As told to BC Pires


Dalton Narine

My name is Dalton Narine and I’ve just completed the upgrade of Mas Man: The Complete Work, my documentary about Peter Minshall. My mother and father lived on the same Laventille street as Rudolph Charles and Franklyn Ollivierra of Phase II. I learned to write at Richmond Street Boys Primary. Under Mr Carrington, I was an essayist at eight years old. I’ve lived in Miami most of my life.

One afternoon, my father was teaching me to tell time on a clock with a big face. A man dashed in and told him, “Come quick. Yuh wife just drown. They trying to revive she.” She died several months later at the hospital. My father escorted me to Fatima to be denied entrance because, the priest said, I was English Catholic and could be snatching space from a real Roman Catholic. I’d never seen him cry, but, that morning, his tears stained the Fatima gate. When my sister got through the front door of Bishop’s, his heart lightened. 

I’ll owe the bank till I die for all the loans to produce the film. It cost me $3.5 million. It was worth every penny. I attended Howard University, Hunter College, Brooklyn College, New York University and the University of Miami. All that tertiary education was funded through the GI Bill for veterans. My schooling in Trinidad helped put me over the top in the university’s entrance exams. I was the only student in the dorm to begin as a sophomore. 

I yearned to be a writer, not a black writer. I was one of the Vietnam Veterans Against the War’s top speakers. David Susskind chaired a discussion with me and three other veterans about the war for an hour on national TV. That led to an award-winning documentary, No Vietnamese Ever Called me Nigger, which still plays on college campuses. 

Esquire magazine were looking for an articulate black Vietnam veteran to chronicle racial warfare on the front lines. I returned to the killing fields as a civilian writer with the rank of major. Really, it was a death wish, because I should have died on the battlefield alongside 53 buddies who got wasted by our Air Force bombers near the Cambodian border.

Osibisa, the African/Caribbean pop band, emerged as the black Santana. My collection includes all their LPs and CDs. I know (founder-member keyboardist) Robert Bailey well. I planned to use my favourite song, Woyaya, in a scene about grunts partying in a hootch the night before a 30-day operation. The lyrics are apropos to such an uncertain mood: We are going/ Heaven knows where we are going/It will be hard we know/ And the road will be muddy and rough. Woyaya resides in my Mac. 

Mailer’s The Naked and the Dead; James Joyce’s Ulysses; and The Battleship Potemkin, a 1925 Russian film, changed my life most. Hands down, Stanley Kubrick and Sam Peckinpah are my favourite directors. Apocalypse Now is the best Vietnam film, though I was closer to Oliver Stone’s Platoon. I didn’t see the documentary The Fog of War. But I lived it.

I began shooting Mas Man in 2005-6. I spent a year trying to interest ministries and the private sector. (Then Tourism Minister Howard) Chin Lee’s office response was, “What if Minshall never brings another band?” Penelope Beckles, bless her heart, spoke with the film company, which eventually helped out with $100,000. The short version was rushed for the 2009 TT Film Festival. The Complete Work was achieved after 20-something cuts. 

The 89 minutes of Mas Man represents seven years’ hard labour for me. We plan to roll out the upgraded and rebranded work as a three-disc collection, more than five hours of Mas Man. I made Mas Man as a work of art about a work of art. A man from a tiny Caribbean island who reached 80 per cent of the planet in a single night.  

The best thing about making Mas Man was being in Minshall’s company, an erudite storyteller. The worst part was grovelling for funds. I could make a film about that runaround! My greatest regret was that I didn’t get better quality footage from the Ministry of Information. But GISL did the best they could under the circumstances and I appreciate their effort. A Trini is someone who lives life to the fullest until the cup runs over and spills out as ole talk. To me, Trinidad and Tobago means many nice times.
SOURCE:www.guardian.co.t


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Thursday, June 16, 2011

Legendary masman laid to rest

The casket bearing the body of Wayne Berkeley is carried out by his brothers
Claetus, left, and Oswald, right, and other relatives and close friends
following the funeral service at the Church of Assumption,
Maraval, yesterday. Photo: BRIAN NG FATT
Legendary masman Wayne Berkeley was able to create heaven on earth for those who played in his Carnival bands over the years. Berkeley, who passed away last week Thursday at age 70, was laid to rest yesterday in a colourful send off at the Church of the Assumption, Maraval. In attendance were Berkeley’s brothers Claetus, Eldon and Oswald and their families. Members of Carnival and entertainment fraternity who came to pay their respects included, Minister of Arts and Multiculturalism Winston Peters, Denyse Plummer, Stephen Derrick, Trevor Wallace, Richard Affong, Arden Knox, Keith Ramirez, David Lopez, Thora Dumbell, Rosemary Stone and chairman of the National Carnival Commission Kenny de Silva. In his homily, Father Joe Harris said Berkeley was able to create a heaven on earth with his Carnival creations.


Harris said, “Wayne used God’s gifts and talents to remind us of that other world.” He said through Berkeleys creativity and passion for colour he created a culture of joy, togetherness, beauty, sharing and happiness. Friend and dancer, Thora Dumbell paid tribute to Berkeley, describing him as a “genius” who came up “with the most unique ideas.”

Dumbell said: “Wayne, I salute you for the joy and beauty you bought us.” The eulogy was delivered by Berkeley’s brother, Oswald, who said Wayne’s name would forever be synonymous with Carnival. He described Berkeley as a perfectionist, who was meticulous and methodical in creating his costumes. To celebrate the life of Wayne Berkeley and the contribution he made to Carnival the National Library, Abercromby Street, Port-of-Spain, is holding a special exhibition displaying some of Berkeley’s costumes, art works and sketches. The exhibition, which started on Tuesday, will end on July 15.
more info

Wayne Berkeley passed away last week Thursday at his Clifford Street, Belmont, home at age 70. He made his Carnival debut in 1965. He won 13 Band of Year titles with six consecutive wins. In 1974 he was awarded the Humming Bird Gold Medal for his contribution to the development of Carnival.

In 1985 Berkeley designed the altar for Pope John Paul II at the National Stadium. That same year he designed the interior of the Angostura building for the visit of Her Majesty, Queen Elizabeth II. He also designed prize-winning bands for Carnival in St Vincent, St Maarten, Antigua, Barbados, London and the United States.

Alicia Llanos

Sunday, February 13, 2011

OVERTIMETT Interviews Stephen Derek.

This is the most eye opening Stephen Derek interview I’ve seen in a long time.  I have to give the people at OVERTIMETT.COM kudos for the foresight applied in interviewing one of the few living producing band leader/ mas men whose name is called in the same group of legends such as Minshall, Berkley, Bailey, and LeeHung.
Stephen Derek
Stephen Derek born in 1952 is the absolute mas man he designs and constructs his works and is without a doubt a cultural ambassador for Trinidad and Tobago as he has taken mas and the art form of mas around the world. In this interview Derek not only talks of his band and his contribution to mas over the years, but he also criticises the current crop of “band leaders” and bikini bands that he calls “two piece and fries “, he also
mentions some critical truths about those that market the festival to shores outside Trinidad.
Once again, kudos must be given to Overtimett.com for providing a fantastic interview with a living legend of the carnival art form mas.

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Tuesday, November 16, 2010

Dalton Narine at the New York Film Festival.

Dalton Narine, right, received the New York International Film Festival Best Documentary Award last Thursday night in Beverly Hills, Calif. Afterward, he joins countryman Damian Marcano, left, and Jamaican-born Alexa Bailey, director and producer, respectively, of "The Little Boy and the Ball," which played Friday at the Los Angeles International Film Festival in Culver City, Los Angeles. Narine's film, "Mas Man Peter Minshall" was also screened at the festival. Mas Man received its fifth award at the South Africa International Festival on Saturday.

Dalton Narine stands with his Best Documentary Award for "Mas Man Peter Minshall" at the New York International Film Festival reception held last Thursday night in Beverly Hills, California. ( UNOFFICIAL PHOTOS BY GALE JAMES)
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