Home' Trinidad and Tobago Guardian : February 18th 2014 Contents A31
Tuesday, February 18, 2014 www.guardian.co.tt Guardian
TRINIDAD AND TOBAGO POSTAL CORPORATION
THE ACQUISITION AND IMPLEMENTATION OF AN
ELECTRONIC TIME AND ATTENDANCE
SYSTEM FOR TTPOST
• HR: 3/14 - TAcquisition and Implementation of a Time and Attendance System for the Trinidad
and Tobago Postal Corporation (TTPost).
2. Tender Documents can be obtained during the hours of 8.00 a.m. to 4.00 p.m. (Monday to Friday)
at the Procurement Department located at the National Mail Centre, 240-250 Golden Grove
Road, Piarco 350462, Trinidad and Tobago, upon payment of a non-refundable fee
of TT$200.00 payable by cash or Linx at the Post Shop, NMC.
3. Tenders are to remain valid for a period of one hundred and twenty (120) daysfrom the closing
date of the Tender and must be accompanied by Copy of Receipt for Purchase of Tender Package.
Tender proposals from local firms must be accompanied by the following mandatory
(i) Valid Income Tax Certificate
(ii) Valid VAT Clearance Certificate
Both (i) and (ii) must be dated not more than six (6) months prior to the date fixed for
the close of Tenders.
4. The original and four (4) copies of the Tender should be placed in a sealed envelope, addressed to
the Procurement Manager, and Tobago Postal Corporation, National Mail Centre, 240-250,
Golden Grove Road, 350462, Trinidad and Tobago,clearly marked on the outside:-
"TENDER FOR THE ACQUISITION AND IMPLEMENTATION OF AN
ELECTRONIC TIME AND ATTENDANCE SYSTEM FOR THE
TRINIDAD AND TOBAGO POSTAL CORPORATION (TTPOST)"
5. Envelopes must be deposited in the Brown Tender Box located in the Reception Area, First Floor,
National Mail Centre, at the address stated above not later than 1.00 p.m. on Tuesday, March 11,
2014, Tenders submitted after this deadline will not be accepted.
Tenderers should note that the dimension of the SLOT in the Tenders Box is 30cm x 5cm and as
such, tenders should be packaged accordingly.
Tenders would be opened shortly afterwards. The tenderer or his representative may be present at
6. Any questions or queries regarding this Tender shall be addressed to the Procurement Manager,
as appearing above, during Fel. (1-868-669-5361 x 230/ 162) facsimile message sent to fax
number (1-868-669-7666) or email firstname.lastname@example.org.
7. TTPost does not bind itself to accept the lowest or any other tender.
8. TTPost reserves the right to cancel the present notice in its entirety or even partially, without
defraying any cost incurred by any firm in submitting their tender.
It shouldn t be surprising, given
the National Carnival Commission s
(NCC) failure to hold a public con-
sultation on the copyright issues that
arose in 2013, to find the whole ugly
mess bubbling up again.
Photographers who went to the NCC
to seek accreditation for the 2014 edi-
tion of the event found no reductions
in the fee and a new and shocking issue
to deal with.
On February 11, photographers seek-
ing a pass to cover Carnival were told
that if they checked the online option
on the form, it would not be approved.
The National Carnival Bands Asso-
ciation (NCBA), they were told, had
sold the right to publish online to a
single, unnamed entity. Read Narend
Sooknarine s account of that meeting
That story changed within 24 hours
to an approval for Web sites. When
confronted with this story by the T&T
Guardian s Kalifa Clyne last week,
NCBA bossman David Lopez dismissed
Apparently, one is left to assume,
bored clerical staff must have made
up the whole story to add a bit of spice
to a dull day. Yes, that must be it,
because otherwise, someone is lying.
Meanwhile, the T&T Copyright
Organisation (TTCO) has launched
another boarding manoeuvre that
seems unrelated to the rights hijack
allegedly under way at the NCBA.
The collection agency has demanded
back pay in the sum of $6 million on
behalf of the National Carnival Devel-
opment Foundation (NCDF), one of
the three organisations that represent
the interests of bandleaders and, it is
widely rumoured, masqueraders.
At the heart of all this bacchanal is
the payment of hundreds of thousands
of dollars for a nebulous product called
"copyright fees," a uniquely T&T
invention designed to satisfy Carnival
stakeholders that they are getting a
cut of all the nonexistent money being
made by photographers and motion
crews off their hard work.
There is, of course, no such fortune
being made by anyone, most docu-
menters of Carnival doing so out of
love or cussedness in the face of out-
right hostility and lack of interest.
That this demand was met with
unthinking acquiescence almost 20
years ago only cemented in the minds
of masmen in particular that they were
right all along.
When media managers should have
stood up for the right to publish and
broadcast in the public interest, a gov-
erning clause of the T&T Copyright
Act, they abdicated that responsibility
through ignorance and laziness.
The country has never stopped pay-
ing for that act of naked greed and
the weak-kneed response of publishers
Serious coverage of Carnival, already
sketchy, was completely abandoned
in favour of magazines with cover-to-
cover half-naked babes.
It s no surprise that the most rea-
sonable Carnival stakeholders are
Pan Trinbago and Tuco. In an envi-
ronment in which coverage is fiercely
taxed, they are most clearly in danger
of being left out of the annual Car-
Even more interesting is the fact
that what s being done each year
makes no sense in copyright terms.
The denomination of copyright is
In this architecture of intangibles,
something owned by someone is
licensed or leased, if you prefer, to
someone else in specific ways for a
The correct way to handle the chal-
lenges of Carnival copyright would be
to create a rights clearing house that
buyers interested in making use of
Carnival s creative works could refer-
ence to pay suitable fees for projects.
What photographers buy each year
through the NCC is a bligh, an implicit
agreement that Carnival s leadership
won t bother them.
As a tool of copyright what s being
sold is useless. Anyone wishing to do
anything serious with a photo or video
of Carnival must still find masquer-
aders to clear likenesses and designers
and bandleaders to negotiate Works
of Mas licences.
It is, in short, a bill of goods that s
all hefty bill and no goods.
After two decades of charging a
steeply escalating fee for documenting
Carnival, it s going to be difficult for
the festival s leadership is unlikely to
be keen to embrace any new models
for handling the rights they own, even
in the face of an unequivocal collapse
in the quality of the event s coverage.
It s arguable that the creatively arid
Carnival of today is the logical result
of the haphazard and senseless intro-
duction of copyright fees late in the
Public taste has followed media cov-
erage. Pan has been marginalised,
calypso is in a state-funded coma and
everyone wants to shake a befeathered
bumsee in a band.
While there are other vectors that
got us here, people want the Carnival
that they see and what they see is soca
singers performing to massive crowds
and pretty girls in beaded swimsuits
getting on bad. The language of the
festival has been truncated with a tex-
ter s ruthlessness. Wine. Jam. Bamx2.
Haninnair. TribeBlissHart. Shots.
As everything about Carnival
becomes shorter and more pointed, it
begins to resemble nothing less than
a gladius on which we are relentlessly
impaling our creative future.
An effective copyright regime for
Carnival will call for work to earn the
real rewards that are due, but every-
one s too busy lining up at the trough
to lap up much easier money, even if
it s only a thin gruel.
Carnival copyright redux
This member of the Original
Whipmasters cracks a whip in a
demonstration at the
Rudranath Capildeo Learning
Resource Centre. Time to
straighten Carnival out?
PHOTO: MARK LYNDERSAY
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