by Andre Moses
Trinidad & Tobago, W.I. - ...Gradually and seemingly ‘unnoticed’ the crowds and national enthusiasm generated by the Steelband Panorama have begun to dissipate, and like West Indies cricket the symptoms of this ‘loss of energy’ are quite evident to those who are perceptive enough to ‘see’.
The North Stand that represented the next generation of steelband lovers has not recovered from the self-inflicted wound of the ‘Panorama Greens’ and a new generation of youth is growing up without any organic connection to the steelband, save for a fleeting engagement in a school steelband.
At the same time the average age of the Grand Stand faithful has been moving steadily northwards from fifty to sixty to seventy years...
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The article suggests that the steelband Panorama is dying. It does not make that connection that the death of Panorama is closely associated with the death of the steelband itself. The reliance on Panorama, its prize money, and stipends are not only stifling the progress of steelbands, but it is a cancer that is slowly killing the steelband movement and disassociating it from its very roots - Carnival
A few years ago Boogsie Sharpe, a protagonist in the new struggle with Pan Trinbago, announced unceremoniously that his band would not partake in playing on the road during the Carnival celebrations. Similarly, when a band is eliminated from the competition, it abruptly signals the death of the band for the rest of the Carnival season because steelbands are dependent on Panorama for their existence. In stark contrast and to paraphrase the words of Neville Jules, the early steelband movement was catching like wildfire. Young men everywhere were interested in creating a unique sound despite oppression from the society and the colonial police.
Compare those young men in the early steelband movement to soca artistes. Machel Monday, for example, is one of the most celebrated events of the modern carnival. This suggests that Machel is neither dependent on the Soca Monarch nor the Road March contests to advance his craft. But when was the last time that a Boogsie Sharpe, for example, through entrepreneurship, booked a venue and held a concert showcasing his bands work product from which pannists could earn a part of any profit realized at the gate. I suggest that Sharpe like all other pannists is bootstrapped not only by Pan Trinbago, but instead by the dependency that Panorama has spawned.
In conclusion, the absence of Panorama might be a blessing in disguise and help pannists to be more creative than perfecting the one tune they will play for months.
Hold those thoughts to carry the discussion forward after the carnival, when hopefuly we could all think objectively about the way forward and not be upset and angry about today's small change.
Tony Smith the reason why many pan players depend on the government stipend yearly from panorama is simply laziness on their part, not the panorama competition. If they were so good how come we don't hear anything from them after carnival,approx. 300 +days to do something for pan and themselves. Again bad advice. Why not encourage the pan players to have pan on the road for carnival days and not on truck and trailers. Panorama is the greatest show on earth for pan, and it's due to the competition and crowning the winner. This gives other competing bands an incentive to compete the following year to be champion. After carnival if one wants to earn a living, they will purchase a pan, form a band, make some money. Hotels, various gigs, training at schools etc.
Well said , Tony Smith.
Good comment Tony. Panorama makes the steelband dependent and will NEVER grow.
Very interesting analysis Andre, it covers the key issues, moving forward with a solution is the challenge, but certainly this is the trajectory for the pan movement..... beginning with an analysis ...good job.
Excellent analysis Andre. We now need suggestions for the next stage. Here is my 2cts worth.
1. Establish a national forum/committee,commission (name not important) for developing a National Strategy for the future of PAN - the instrument, the music, and the people. People because a steel band, whether it is a professional orchestra, a traditional BIG BAND, an ensemble, a village or community band, does not consist only of players, neither will the future of Pan be determined by the success or failure of Panorama.
2. The core of the 'commission should represent as far as possible the broad range of interest groups:
- Pan Trinbago, including it's regional subgroups, players, academia, musicians, educators, professionals, (especially those with history, knowledge and experience in the pan movement) the political directorate, sponsors, cultural activists, pan lovers.
3. If we could come to an agreement on composition of the 'commission' then it's first task should be agreeing on a draft for it's terms of reference and the establishment of a time line, to be submitted to the general public for information,comment and agreement by consensus.
4. Service on the commission should be voluntary. That's how this great movement started.
5. Administrative and Promotional Funding. A consortium of past and present sponsors should be approached to fund the entire process, which should be more than reasonable so long as 4.above is strictly observed.
That is my 5 point suggestion
Lets hear other suggestions on the way forward.from the Pan Community
I have been a member and follower of events and blogs as posted on this site for more than 15 years. This is the first time I feel moved to comment irrespective of my origin or activity in Pan. it's simple, this guy is right. Much more needs to be said & done but for me he's leading from the front.
Thank You for saying this so clearly, loudly and well.
The young pan players are not creative. The majority of young pan panorama arrangers cannot arrange anything near Boogsie, Holman, Earl Rodney, Beverly Griffith and many more arrengers we had in the 1970's and 1980's. The young pan players, for the past 15 years, are treated like 15 days DEWD and or CEPEP workers, seasonal money. The only time they touch their tools is when a few dollars is given to them by the government, hence the reason why all will never reach the level of, lets say, Andy Narrell. All keep jumping from band to band and the older folks basically saw nothing wrong with this. They are also not guided or trained to respect anything.
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