“…16 In this case, Mas performers themselves are at the origin of its patrimonialization, which then becomes "both an instrument of control and a means of emancipation" (Tornatore in Csergo, Hottin and Schmit 2020: 203). These forms of patrimonialization have also given rise to polemics and other "patrimonial emotions" (Fabre 2013), fueled in particular by the president of the Guadeloupe Carnival Organization (OCG), which shows that greater issues are involved in the Mas institutionalization. First and foremost, economic issues are at stake.…”