Ok folks.
There have been a lot of discussion about returning the steelband to the more active role in the carnival parade , and this discussion has usually degenerated into a argument over the difficulty of achieving mobility for the Steelband , "pushing pan", and a belief expressed by some that trying to replicate Steelband successes of the past, was somehow a negative thing , "nostalgia ", and not worthy of our considerations.
My thoughts go a lot deeper than that.
We all know how and why the Steelband was conceived , i.e. to provide music for the masses at carnival.
It was in this role , aided by early Steelband tours, that gained early international recognition for the Steelband.
The Steelband's role in the carnival, along with the calypso art-form, gave the Steelband an identity closely associated with the Trinidad Carnival , a role that was celebrated in word and song by our best artists.
That identity is the one still closest to the minds of many worldwide , who may have a vague understanding of the modern steelband , and the art-form.
Other than that, the Steelband doesn't have much of an identity , once we get away from the Caribbean diaspora.
In our desire to 'modernize" the Steelband , we have in effect removed the emphasis from the streets and party image, to that of the stage and concert hall.
And therefore the focus of the Steelband's appeal was changed from the streets and the party loving crowds to the sophisticated music lover ,the jazz or classical music fan.
Panorama music , for instance , is not really for the casual listener or party person , but for the true fan of the genre.
This is not of itself a bad thing , but I think that this approach will have limited appeal in exposing pan music to the masses.
On the other hand ,I think that more of an involvement in the carnival, a time when we could conceivably have the widest exposure, would force steelbands to focus more on contemporary party music , and hopefully widen the fan base , locally , and internationally.
And could even lead to more interest in the panorama competition.
We should not forget that Steelband music was always different in pace and tempo from big band music , in the streets and in the halls.
This was especially the case when dance bands played on the streets for what we called "historical" bands.
Remember those days ?
We could never replace the big bands back in the day , or the DJs today.
But we should be able to co-exist , if we give the effort , do the work , and the planning.
And btw , though my thoughts are mainly in reference to the steelbands of T&T , wider visibility , and awareness of the steelband and steelband culture should also be a boon to individual panists ,and small groups , everywhere.
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fetes were produced with steelband and traditional brass bands for nonstop musical enjoyment. These were revenue producing,notoriety and following.
It should seem obvious that the steelband be used to promote the Trinidad Carnival culture, and vice-versa , even if that had never been done in the past .(which it has).
It is beyond me why this is not done or at least considered , or why this idea should seem controversial.
Admittedly , there would be difficulties in doing this , since it would be a major change in emphasis for the steelbands, who're usually focussed only on panorama at carnival time.
But the difficulties are not insurmountable , and of course government action ( along with PanTrinbago and the NCC) would be needed.
But I would think it a worthwhile investment in the culture , especially as the energy sector declines and you're looking for other sources of revenue i.e. tourism.
Unless there is no real interest in promoting and developing the culture ?
Glenroy again i will say that what we are trying to tell most of these members on WST as far as the role of pan at carnival time goes, is that we are trying to preserve traditions that has made pan what it is historically.I know that there are some members who think we do not accept change what they don't seem to know is that we are only going to accept change for the better and the greater good.DJ's on trucks and half naked people is not what carnival is historically.And somebody has to wake up a sleeping population and let them know that the house is on fire.And i truly believe that is what we are doing, not trying to take anyone back to 1965.
When steel talks not everybody listens but when steel starts to walk the whole world will follow.
Cedric. Optimism and realism are not opposites and the only thing that is constant is change itself. Nothing is what it used to be- personally speaking: I was a lot prettier at age 20 than I am now, but I would only want to be 20 again with the knowledge I have now.
Having said that, I do understand and agree with what you are saying, watching the decline in Mas, and of Pan in Carnival, over the last decade has been somewhat like watching a beloved friend slowly dying of cancer.
You agree that the new generation has been handed something great, but not the true history and knowledge of its existence. That , Cedric is the crux of the matter- but who should have , and will now, tell the story-or stories? I know of only one band, that has dealt with this by running compulsory band -history classes for young players. (There may ,of course, be more.) Recordings-that is quality recording of the music itself as well written and published historical and contemporary records are of the greatest importance. Recording not only distributes-it validates, promotes and preserves. (When Steel Talks is making an invaluable contribution to this with members posting recordings, documents and opinions on the site!). "Keeping the secret of pan in yu hand" did not work. Time to fill in the missing bits of true history and let the world, and Trinidadians, know what it is, where it came from and where its living heart still beats.
Pan is an instrument-the music is in the people.
Lilian your comments are very intelligent ones and i respect your opinions whether i agree with them or not, because it's the decent thing to do when dealing with issues that affect people.To give you a brief description of my involvement with pan,it started when i was just around 11 years old growing up in a household where three members of my family were members of panam jet north stars and the music that they played at that time was mesmirising to say the least.But that household also had very strict rules my aunt who was raising me from my infancy will not allow those of us around my age to get involved with pan, and this was in the mid sixties.But in 1968 we broke away from the rules and i visited crossroads,crossfire and westside symphony all st james bands because that is where i grew up that is where i am from.But after making the journey a little further toward POS woodbrook to be exact i heard Ray Holmans work he was doing with the then angostura starlift i knew right away this is where i was going to play my pan since panam north stars had already disintegrated.I did'nt play a major role in my pan debut because of the many restictions at home.But from 1969 i got started untill i left starlift for phase2 pan groove, i continued to play my pan in woodbrook untill 1985 when i travelled to the united states as a member of phase2 pan groove and to be quite honest with you i have'nt returned home since then.I played year round from as early as 1973 so you have an idea what my passion for pan was like.I am a very angry trinidadian when it comes to the matters surrounding pan.I know all about the exploitation of panmen and now panwomen because back then it was very rare to see a woman play pan.So my comments are based on my experiences with the pan world from my early years to now.I do understand your points and believe me they are well taken and i look foward to continuing any pan discussion with you because, despite the fact that i do not know you personally you strike me as someone pleasant and very intelligent.And of course anyone of us will like to be 20 with the knowledge and experience we have gathered over the years.But like you said change is something that will continue to take all humanity to different destinations as time go by.So with all that said i feel pretty comfortable with this discussion and i look foward to hearing what your take is on the present state of pan as we know it and where we think it should be now.
One of the wonderful things about pan is that it can actually do street/party/classical/jazz/ concert/ full orchestra/ small band/ solo/ community/ national and international -all to glorious perfection. The music is neither dead nor dying, it is forwarding into the next generation with certainty and success. But the scene is changing, its problems are the problems of communities and live music everywhere. Remember the Brass bands at fetes and in Carnival? Remember the Tassa drummers tuning over open fires at Jouvert? Or the Sodabix tins being beaten outta shape by tarred and muddy hands? Much of that has been replaced by music trucks and mechanization and monotony rule the road today. So, we have a right to be nostalgic about the times when Mas was glorious and the music was great, pushing pan was a skill and a honour (for some).
In all of this, Pan is not just remaining steadfast , but growing and spreading across the world. Although there are more ways of delivering recorded music than ever before, live music is making a comeback. I do believe we are at a crossroad-but definitely not at a dead end.
But, seriously now: where else in the world would you find ordinary people of all ages, creeds and classes get together and make music with the dedication and skill required by a steel band ? En masse and every year?
All that good stuff sounds good but in reality the situation on the ground tell a different story in my native T&T.The story and history of pan from it's birth to it's present state is a sad one and also a happy one depending on your knowledge of it's roots.This present state is not something to smile about and yes pan is all over the world not just because it was well documented and promoted but it was sold to the highest bidder with no justified benefits to the families of those who created it.When it is marketed in the interest of those who sacraficed to make it what it is today then i will smile all the way to the kingdom of the most high.You say this new generation has been handed something great and yes i agree,but they were not handed the true history and knowledge of it's existence.So there is much doubt when it comes to the certainty and success that you talk about.After more than sixty years of struggle pan music in some instances has evolved in others it has regressed.If panorama is the measuring stick of how far pan has come then we are in for a real fight for our cultural lives.I look at where pan was when the great anthony williams and his Panam Jet North Stars were the talk of the town and when compared to what it is now the story takes a sad turn.This is not meant to be a criticism of your comments because optimism is great for our children's future but at the same time we have to be realistic.I am not just looking at the negatives i am also looking for answerers to the troubling questions that surround the Pan World.
1917 was the year of the bolshevic revoloution in russia,let's make 2017 the year of the PANSHEVICS Cultural Revoloution in T&T.
Panmen and Panwomen of T&T and the rest of the world it's time to unite and form a new pan movement that will benefit all the people involved with pan at all levels.Pan Trinbago has run it's course and that course has approached a dead end.Pan is in extreme danger and only you can save it from it's death.DOWN WITH PAN TRINBAGO PAN TRINBAGO MUST GO.
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