Mas’ wire craft push aims to revive ‘dying art’, create jobs

A new regional initiative to revive traditional masquerade — or mas’ — wire bending and turn it into accredited, income-generating work has been launched on Thursday, with organisers promising formal certification pathways and fresh opportunities across the Caribbean’s festival industries.

That vision was outlined at the Spirit Bond in Bridgetown with the launch of the Wire Sculpting for Masquerade Workshop, hosted by the Pinelands Creative Workshop in collaboration with the National Cultural Foundation, Caribbean Yard Campus and the Maria Holder Trust. 

PCW chief executive Sophia Greaves described the initiative as far more than a technical training programme, calling it “an intentional act of preservation, community empowerment, and strategic industry development”.

PCW chief executive Sophia Greaves. (Photo Credit: Shamar Blunt/Barbados TODAY)

“Today marks a profound milestone as we officially opened this wire bending workshop,” Greaves said. “I don’t see tools and wire and workspaces. I see the living heartbeat of our heritage, the sparks of economic opportunity, and the incredible power of a shared regional vision.”

She stressed that the programme was designed to transform cultural knowledge into sustainable careers, noting that participants could use the skills gained to pursue entrepreneurship, creative industry employment and commercial design opportunities linked to the festival industry.

“This workshop is about building economic agency,” she said. “We are investing in your talent so that you can turn heritage into sustainable livelihoods.”

Greaves also revealed plans to formalise mas’ wire sculpting through professional accreditation, saying discussions were already under way with Caribbean Yard Campus to establish Caribbean Vocational Qualification certification pathways for participants.

“We are looking towards professional certification in collaboration with the Caribbean Yard Campus,” she said. “We are actively moving towards cementing these traditional skills into formal qualifications.”

According to Greaves, the move would ensure artisans and cultural practitioners receive internationally recognised accreditation for skills traditionally learned in community spaces.

“This will ensure that the skills you hone in community spaces are recognised globally, giving you formal accredited certification as professional artisans and cultural practitioners,” she added.

Workshop facilitator Val Jerry said preserving wire bending techniques remained critical even as carnival costumes continued to evolve with new materials and modern trends.

Workshop facilitator Val Jerry. (Photo Credit: Shamar Blunt/Barbados TODAY)

“We know carnival is changing. It has always changed from the beginning and it will keep changing,” Jerry said. “But you have to draw the line somewhere. There’s no excuse for vulgarity.”

He described wire bending as a “dying art”, while cautioning that newer materials could not entirely replace the structural advantages of traditional wire frameworks in costume construction.

“Wire is probably the only material that could give you a 45-degree angle and not move. You can’t do that with fiberglass,” he explained. “So we look to see the strong points and we incorporate this into costume building.”

The workshop was intended not only to preserve the craft, but also to adapt it to the changing realities of Caribbean carnival design, Jerry said. 

(SB)