By Les Slater
this article originally appeared in the West Indian American Day Carnival Association journal for 2015 Labor Day weekend festivities
It ought to have received priority focus by gate keepers well before now and, who knows, the horse may already have been too long bolted from the stable. But there’s a good case to be made that Panorama, having arrived in 1963 in Trinidad and Tobago as a fine addition to the Carnival tapestry, has come to be a dominating presence on the steelpan scene that for years has had a suffocating effect on other avenues of growth potential for the art form. Pigeonholing steelpan music as musical novelty good only for a designated setting or settings does a disservice to a stunning artistic invention. A myopic take on pan’s possibilities gaining credence elsewhere than in Trinidad and Tobago is unfortunate. But any trend toward stifling the pan’s potential in its birthplace betrays mind-boggling misdirection. Sadly, such a turn has indeed been taken; a disproportionate emphasis on Panorama has been a major contributing factor.
Let’s, however be very clear that Panorama remains, overall, one of the positive things to have happened to the pan culture. There are those who believe, not without merit, that as an entertainment feature, Panorama has been ill-advisedly allowed to evolve along lines that have diminished the punch it once packed. Certainly, an earlier period when “spirit of Carnival” rather than concert-stage performance (calypso rhythm notwithstanding) informed the nature of the fare presented, made for audiences’ greater enjoyment of the event. But the basic idea of a competitive forum for bands to strut their stuff is as solid a release valve as any for the energy build-up among participants.
Any true pan-loving T&T national sensitized to the unique and honored place the steelpan can rightly claim in the music world should be troubled by Panorama competitions being the zenith of pan’s aspirations. It likely pivots back to an under-valuing of the instrument in the national psyche, perhaps fostered by its origins, having precluded the instrument’s full embrace even by the “conventional” music community. Even formal declaration of the pan as Trinidad and Tobago’s “national instrument” evidently failed to convey to many, including the music community, that the pan was entitled to a “big-up” in the culture well beyond Panorama as be-all and end-all of its raison d’etre. And that, for example, in the music community, Machel, Roots, Cape, Joey…needed to revisit the level of respect accorded the instrument, up to and including incorporating it into their own organizations.
In the spirit of all that, one would have preferred a more inspired choice by Pan Trinbago than was recently staged in Port of Spain. The idea of a major event involving pan sides from across the world presents such unlimited possibilities, why reach reflexively for the Panorama blueprint as the only game in town? Inviting foreign bands to “compete” where they obviously wouldn’t be matching up well with locals was inane and a wasted opportunity. As it was, T&T Panorama overkill for 2015 is what essentially was served up.
- See more at: http://www.panonthenet.com/news/2015/sep/toward-putting-panorama-in-perspective-9-3-2015.htm#sthash.MJ4iN6EX.dpuf
Replies
Without panorama (competition) in Trinidad, pan dead.
Listen, nobody is preventing anyone from making a living playing pan in Trinidad. Another avenue to start with is at hotels and clubs,NGO's should encourage and do some more to make this happen. But what trinis do abroad with pan is not what trinis want to do with it in Trinidad. All of them dying to get back home at panorama time.
Why try and bash something that worked for so many years, to go with what? Ideas anyone, not just talk.
Americans would not bash their country music for their R & B music.
If you need to hear better pan at panorama competition, eliminate all judging in panyards. Do this task in the savannahs. Have stiff competitions. example. you have 20 bands competing(semi-final), pick 5 for final night, absolutely no ties. Pay finalist well. This should eliminate the hundreds of small and medium bands hustling for ah food. Make a separate 'hustle for food' competition later in the year for them. The goal here is to better arranger skills and pan music. Would eliminate people leaving the stands before the last two bands play.
I will admit the pan music on the road on carnival days is very cheap. A disgrace to the fans. We hear or see no bass, for example. The pan on trailers, in a blink of an eye the band pass down the road already. People open your eyes, all this kill the culture. The person who came up with the idea to put pan on trailer can't be a panman, I strongly believe it was a masband man. Reason to get you off the road quickly.
Trinis who use panorama as a fault for the development of pan music reminds me of the dog and the bone story. You will have nothing
Anyhow back to pan. Presently there is not one young pan arranger thats unique in arranging music. This area need to be developed. Devon and Amrit both have their bands sounding like Jit. Just that one music is played faster than the other.
Some work needs to be done in the arranging department, to many skillful pan players around to not make this happen.
Panorama competitions forever.
patrick,
Steelbands were successful before panorama, if pan dead without panorama something is wrong about this picture.
Panorama was supposed to ADD to the already successful steelband it did not and we did not attempt to correct it
We are at the point where we have to identify the purpose of the steelband .
Cecil, can you tell me how successful steelbands were before panorama? Honestly, I have no clue and don't have any information what steelbands did before panorama. I do know many steelbands played out a lot before panorama in fetes and also played many different calypsoes in addition to their panorama tune. Panorama competition years ago brought out the best in Trinidad arrangers. It was hard to qualify for a semi-final and twice as hard not to make the finals. Ask Ray and Boogsie. Who said panorama was to ADD something else to the steelband?
My take, steelband music should be made for people without any musical knowledge, to be happy and want more. Similar to when we were all anxious to hear what Kitch, Sparrow and Shorty coming with on their album for carnival.
patrick, at one time steelbands function without a sponsor, they brought a band on the road for j'ouvert, Monday afternoon, all day Tuesday and they came back out Tuesday night. Every band had a bomb to drop j'ouvert morning, the best bomb gave you bragging rites. They depended on themselves to come again the next year, that was success. Whatever panorama brought was supposed to add to what they already had
Thanks for the info. We need to realize, and you may agree with me Cecil, many of the steelbands long ago came from villages and towns, and almost all was made up of members from their respective community. Loyalty was a big deal, hence the competitive battle against each other to be the best was the ultimate goal of the steelband. Today an arranger and players can jump from a South band to a North band, no big deal. Bragging rites is great but loyalty is needed. In the United States professional players are less loyal to their team compared to the loyalty they show for college they played for. In a nutshell our steelband 'eat ah food' competition = mediocrity.
patrick, I agree with everything you said, but we have to acknowledge that all the steelbands do is wait for panorama to see whatever they can hustle from it, with such an attitude they will NEVER grow.
Well we do like a competition and a war.
Nobody supports anyone anymore in TnT.
It's not just a pan thing. It's always we against them.
It's in our genes and psyche.
When we get over that mentality then we can move forward as a people
It is my opinion that the reason we are at this point today is because the Ministry of Culture of T&T never assume responsibility for this vital area of culture, even today they don't realize the importance of the steelpan/steelband.
The call for a Ministry of Pan seem to be relevant at this point.
And what is the name of this POLITICAL PARTY that is going to win the election on September 7th and establish a MINISTRY OF PAN? Where is your manifesto?
Les Slater's "Truth to Power" must be accepted as nourishment to the minds and bodies of all concerned and genuine lovers of our Steelpan art form, who continue to agitate not only for the "full" recognition and acceptance of the Steelpan but also for due respect of the Steelpan from within the Caribbean community, first and foremost. For those amongst us who profess to love the Steelpan art form, yet for some, as a result of their deliberate "don't give a dam" mindset and for others who are fully aware of what they are doing, and are in the position to utilize the opportunity for personal gains, unashamedly continue year in, and year out, turn a blind to the reality, that their action only serve to retard the forward and upward movement of the Steelpan art form. The focus that is placed on Panorama annually, in my humble opinion, really does not take the Steelpan anywhere. In fact, it only serve to stigmatize the art form. I, personally get involve in Panorama and other programs all year round, for the children sake. For me, Steelpan programs involving youths, serves as deterrent to youth deviance and capacity building for the youth. I believe the properly organized Steel Orchestra concerts, involving the youth and adults, are the medium whereby by the true potential of the Steelpan can be realized. Certainly, Panorama is not, can and will ever be the most important gathering of the Steelpan. Yes, at a Panorama, the quality of the Arrangers, the Pan Builders/Tuners, the Pannists and Adjudicators are brought to the fore. Does Panorama bring Panmen together? NO!!!!! it tends to segregate Panmen. Does Panorama aid in the positive development of the art form and the Pannists as a whole? NO!!!!! Only a very few benefit. The Steelpan is a gift, given by God to us as a people, for 'the creation of social unity'. Because of the general perception of Panorama, it has not been proven to create social unity. In fact, it has done the exact opposite. It has continued to create divisions among Panmen. This certainly does not speak well for the Steelpan art form. Properly organized Panoramas, Concerts and symposiums/workshops, for the sole purpose of moving the Steelpan art form forward and upward, through the collective participation and input of Caribbean people within the Pan Fraternity, regardless of where he/she reside, is seriously needed. As a people, it is our responsibility to collectively work together to repair the damages done to the Steelpan art form. To agitate for genuine acceptance, recognition and respect of the Steelpan art form and to educate and re- educate the masses in this regard. It is high time that we stop pointing our fingers at others for the dilemma of the Steelpan art form. We must first accept the blame, then accept the challenge to work for the advancement of meaningful and positive changes for the Steepan Movement and all involved. ONE PAN!!!!!! ONE LOVE!!!!!
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