Blog 2.0

Kim Johnson tells us in his book, The Illustrated Story of Pan: Second Edition that,

"Anthony 'Muffman' Williams is arguably the most important panman in history, because of his brilliance as an inventor, tuner, arranger and captain. He introduced the use of oil drums for the background pans, the cellos and bass, and then he put them on wheels so the heavy oil drums could be played on the road. He discovered harmonic tuning, in which more than one tone could be hammered into a note; and from that insight he created the now-standard 'fourths and fifths' arrangement of notes on the tenor pan. He was the first to experiment with oversized pans. As an arranger, Williams set a standard for how a band should sound, how the sections should be voiced in an ensemble, that is unsurpassed. His arrangements for the first two Panorama competitions created a template still followed. As a captain, his band was one of the most well-organised welfare-oriented, progressive ensembles."

High accolades never to be surpassed as a pioneer.

His passing this morning leaves a major gap in the ongoing conversation on and contestation around the idea of steelpan as more than accompaniment for revelry. Pan is more than the cliché sound of the Caribbean, it is more than an iconic image of tropical fun so popular in island tourism adverts from the middle of the 20th century coming forward. It is the soul of a people, of a nation. The pan's symbolism as national instrument, born not by official fiat, but by a transcription of an excerpt of a former Prime Minister's 1992 Independence Day speech, is not to be taken for granted here in T&T. Anthony Williams, and his pioneer posse — you know the names. Buy Kim's book if you don't! — began all this conversation of what is our gift to the world, our opportunity to be a trailblazer in a world leaving behind "small places with simple people" (yuh done know who write that Nobel phrase). His passing today still leaves a bitter taste in the mouths of those who know that the "traditional knowledge for making a steelpan and its role in the music and festivals of T&T" should be on UNESCO's List of Intangible Cultural Heritage, an action still remarkably left wanting all these years after our country's ratification of the Treaty governing these matters, in 2010, I believe. (Wake up, Mr. Minister!) His innovation of the circle of fifths on a pan was unwisely patented in the US by a fresh water Yankee in 2004 and successfully challenged by the T&T government and revoked by the U.S. Patent and Trademark Office.

Anthony Williams, unfortunately, lived in a time when the "audacity of creole imagination" was looked down on. His genius was not the conversation of industry. His genius never made him a millionaire. His genius was not the asset that our country would try to tap into for inspiration and profit. Today, as we reflect on his life and contribution, let us remember his significance in shaping a modern T&T by the unintended consequence of his innovation with an oil drum and the idea of music, and how we have made it part of our intangible cultural heritage. Rest in Peace Anthony 'Muffman' Williams.

©2021, Nigel A. Campbell. All Rights Reserved.

There is this thing about books on the steelpan and the steelband movement. They are sometimes large books with plenty words. There are not that many books though; certainly, less illustrated coffee-table sized books have been written on the steelpan than on the electric guitar for instance, or the piano The thing is, Kim Johnson, pan researcher and author of this new book, The Illustrated Story of Pan, has already written three of those large coffee-table sized books. And to make matters worse for the idea of the proliferation of pan publications, he wrote the first edition of this book a decade ago in 2011. There is still a lot of work to be done. This new edition is updated with never-before-seen photographs, new ideas, clearer editorial. It is a renewed celebration of that “audacity of the Creole imagination,” as he brilliantly describes the steelpan, which one would be remiss not to have on their shelves.

Caribbean pride aside, having a book like this is a “must-have” for music lovers, for people curious of the “other”, for people looking for an exploration of the worlds outside the centre, for people looking to populate their “shelves as furniture and decoration”! Derek Walcott told us in his poem The Spoiler’s Return: “…as for the Creoles, check their house, and look / you bust your brain before you find a book…” Don’t be that guy! Get the book.

Kim Johnson uses a phrase for the title of the first chapter of this book, “The Archaeology of Memory”. This is where I intersect with him. Some years ago just after the launch of the first edition, I showed Johnson a few photos that my late father took in 1961 of some kids playing those early instruments as a kind of entertainment or frolic at our house. Next thing I knew, I saw the picture at a lecture he gave on early pan. At that point, I knew our paths would cross again, as he formally requested to use the photos in this second edition. Pride and place is given to Danny Campbell’s photos of a memory lost to me, but not to time.

Kids playing early pan in Trinidad, circa 1961. Photo by Danny Campbell

That is the power of the photograph over the written word. No matter how well constructed a sentence is, in my mind, it can not eclipse the proof of concept, the certainty of memory, the captured reality of a photo. Even if there were no words in this book — there are many, and all well written to capture a perspective unseen by many foreign researchers — the photographs in this book tell a story. An almost linear history of the evolution of pan is revealed, and the familiar exercise of seeking stories to go with images that many do with old family photo albums — or in modern times, photo and video sharing social networks — allows one to go into the world that created the steelpan.

What was termed by a writer as those “urban yards, those laboratories of sweat and spit and fire,” where steelpans were created and nurtured become the backdrops for a visual narrative that suggests that there were also social situations, people and politics that melded to form a movement and an image that is more than the cliché of the Caribbean in those vintage Caribbean travel posters — a barefoot wide-brimmed hat wearing native playing a pan-round-the-neck.

Images and words here place the steelpan forward on the arc of musical instrument development in the 20th century and puts into context its place in the history of Caribbean independence and self-determination. We see in this collection of photographs, which is by no means an authoritative canon or an official source, and we read in the well researched and attested words, the power of determination to be more. A Caribbean circumstance of stolid repetition of Colonial manners — the Haitian Revolution and other smaller slave and labour rebellions aside — has marked our slow march to modernity and to self-sustaining normalcy in the 21st century. The steelband movement and the instrument’s evolution as determined by the pan people, celebrated characters and forceful figureheads who are all shown in this book, have taken that slow road to maintaining a dogged and sustained presence.

Creole audacity brought to the world an instrument and a movement, a community that removes barriers of race and class, importantly at a time of celebration of the West Indian brio. The denigration of past authors and travel book writers — VS Naipaul in The Middle Passage reminisced infamously, “the steel band used to be regarded as a high manifestation of West Indian Culture, and it was a sound I detested” — is superseded by the majesty given to the steelpan and the steelband in the words of and in the collation of memories by Kim Johnson here.

Memory, audacity, determination are celebrated in this book. Inclusion, too, that has allowed for modern jazz, world music and folk musicians to take the steelpan sound to a wide global audience. The timbre that resonates as a relaxing tone for meditative minds can also move masses to chip and jump and celebrate in our unique way. The Illustrated Story of Pan, Second Edition is the unravelling of all these parts that make the steelpan and the steelband movement significant and possible. If this book inspires long time pan people, limers, panmen, flagwomen, panyard crawlers all to tell their stories, to build those memories, to learn the instrument’s history, it has done a good job. If it inspires a new generation everywhere to take pride in the continuing evolution of Creole audacity, it is well worth the purchase.

© 2021, Nigel A. Campbell. All Rights Reserved.

Good Tuesday morning to All: We should all be familiar with the numerous individuals and groups who entered the arena claiming to want to "do something for pan". (Boogsie) From Arnold to Ramsey-Moore, neither of these current or former presidents of the steelbands' association (Pan Trinbago) have ever come remotely close to the long list of successes of the "Godfather" of the Steelband Movement, George "Sonny" Goddard. As Co-Founder of steelbands' major event, Panorama, Goddard's long list of accomplishments are noted here on When Steel Talks. (See. "Who Am I?") Recently, Diaz was interviewed by one of his former executive members (more on that sinister character later), and the former president boasted of his accomplishments, including the International Conference On Pan (ICP) and its accompanying "international Panorama". I published the entire report of the government-conducted audit related to Diaz and his executive's practices during that time, and the reader can form their own conclusions as to Diaz's successes, not in terms of personal financial gains, but in terms of the subculture's masses of "panmen" and "panwomen".

Then, we witnessed a bunch of alliances being formed; the "Concerned Individuals For Pan" (CIP), the Ramsey-Moore led "New Visionaries" (NV), the "Big 5". We saw the Codrinton Pan Family doing their own thing, and Vanessa Headley making news for her contributions, however, when faced with real life situations like disease, neither were financially-stable enough to handle them without reaching out for help. Tragic. I spoke to Dr. Lance Seunarine who tried to get a pension fund going here on this site, and it saddened me to hear that he now faces his own health challenges.

When I graduated from college in 2008, I wanted to put my education to use in serving my community, that being the steelband community in Trinidad and Tobago. I intended to use my knowledge and training in the field of psychology to help shape how I looked at the numerous issues and challenges facing the steelbands, and in particular, their membership. Due to that social science approach, I understood that i needed data; field research became a required step, if I was to even stand a chance to be successful in my goals. And, I wanted all of us to grow together, and that was the premise behind my suggesting we started a When Steel Talks Book Club. The idea never gained traction.

Goddard was successful because he understood leadership. He also understood what it took, if the goal was "building for eternity", which is what he assumed the entire body he represented wanted. This is why, prior to the association becoming infested with political hacks, steelbands experienced their "golden years"; an era referred to as steelbands' "Coming of Age". Goddard laid out a solid foundation that would have withstood the time test, had it not been for those who began chipping away at the foundation, beginning in 1970, and finalized with the Act 5 of 1986.

Foundation removed and demolished, the association became a decaying carcass, and, naturally, the “culture vultures” showed up like corbeaux at the swollen lifeless body of a stay dog, struck by a passing truck on the Beetham Highway. Then King Corbeaux showed up in his Black regalness [sic], and the real feasting began. No one would (or should) judge the “success” of the body (Pan Trinbago) by the well-fed look of the vultures. You don’t judge the success of body, by how well it fed its leader, but by how well the leader fed the body!

Of course, once on solid ground and on strong foundation, “building for eternity” requires the construction of the first floor: values. And, this is where, again, Goddard succeeded and others failed. In my next blog post, I will peel the proverbial onion and expose the “building blocks” needed for both the foundation and the first floor. Without them, anything you build will not be structurally-sound, and will always remain in a compromised position, waiting to come tumbling down like a deck of cards. Building something that will last is not guess work. It takes skill; skill informed by study and research. Skill independent of bias and; or prejudices, and skill that demands truthful, factual evidence, and not premised on conspiracy theories or mischievous intent. Because the vultures have been lauded and praised for their great job at devouring the carcass, they have become enabled and, as such, will continue on their “eat-ah-food” rampage, until all that remains are the dry, white bones of what once was a steelband body.       

 With Regards,

George D. Goddard.

Dearest Pan Women,
I read most of the interviews with you on ‘When Steel Talks’.
Pretty impressed by all of the stories, how you all came in contact with Pan.
What strikes me the most, is the dedication you all have towards this instrument.
It is exactly the way I feel about Pan. Although I came in contact with it when I was 5 years old, it took me about 45 years to find someone who could teach me to play.
In the sixties there were a lot of steel bands here, due to the Dutch Antilleans, who came to Holland to get an educating or work. But somehow the people in Holland became less interested and now there are only a few professionals left.
A shame, but what can you do…

As you all seem so dedicated to this instrument, I wondered if you read about my project on São Vicente, one of the Cape Verde islands.
Since the ‘boys’ on WST hardly react I thought I’ll give it a go and see if the ‘girls’ are more interested.
Last February I introduced the steelpan there, during carnival.
As there is hardly any money there I was only able to get a free stay and meals for whoever wanted to join me. Only one came!
But never the less I took a few pans with me and taught the inhabitants of São Vicente how to play, which resulted in playing the carnival tune during the parade. I must say, that I was very surprised and proud they picked it up so easily!
They loved the sound of it and want to learn everything there is to know about it.

Now I want to start part two of this project and I hope you can help me in this.
They need some pans to start a small band, but they can’t afford to buy them. Maybe one of you has a pan somewhere laying around, which you don’t need anymore. Doesn’t matter what pan it is, they are happy with any pan!!!

I got an offer from two people who want to build pans over there, which I really appreciate. But there are no oil drums with the right thickness on Cabo Verde, so they have to be imported as well, which will also cost money.

So my hope is that you can help them. Read my former post about it if you have the time. And if you have any other ideas, please tell me.
Hope to hear from all of you soon, even if you can’t help. Just to know that you care about spreading pan to this country.

Here are two links from the carnival. Hope you like!

https://youtu.be/IAfofR2bj_k

https://youtu.be/n6k1ceZ7-jY  ( from 2.30 min.)

Kind regards
Deanne Pijl, The Netherlands

As I hope you all already know, I started a project about introducing pan on São Vicente, Cabo Verde Islands.

As this the site for developing pan all over the world, I hope to reach as much people as possible 

As a lot of bands in Trinidad/Tobago don't use mail, I hope you read this and help them to start a panyard.

My name is Deanne Pijl and I live in The Netherlands. And of course I play Pan.
Last February, during the Carnival, I was on São Vicente ( Cape Verde Islands) to do a small project, introducing Pan. They don’t know this instrument, never seen it, never heard it.

I had the opportunity to lend some pans from Nostalgia Steelband from London and took 5 pans with me.
My idea was to form a small band and play on the Carnival parade.
It was a great success!
They loved the sound and want to learn everything about playing pan.

Big problem.
Cape Verde is a poor country. Hardly any work there. So no money to buy instruments.

My colleague and me ( we are piano technicians) gave them 2 piano’s a couple of years ago, for almost nothing. This year I found a keyboard outside in the rain, dried it, worked fine and took it with me. The music teacher was very happy with it.

Well I think you know by now, why I sent you this letter.

Hope you can help them to set up a small pan yard, by donating a steelpan.
The music teacher Eddy Max,  asked the government for money for shipping the instruments, and they want to help him.

They also want to learn how to make one. Can’t do it myself, but I can teach them how to play. I don’t earn any money by teaching them, ( also tune there piano’s for free) I’m just doing it for the love of Pan and to help them in a musical way.

Really, really hope you are willing to help them and spread Pan to another part of the world.

Please reply, even if you don’t have the possibility to donate a Pan. Maybe you even have better ideas, how to start a steel band on São Vicente.
I know they will be very grateful. 

We had very little time ( only 8 days) and was very proud of them playing Pan as if they were born with it and could play the Carnival tune during the parade for 5 hours!!

Made a small compilation of it. Hope you have the time and enthusiasm to look at it and HELP THEM!!

https://youtu.be/IAfofR2bj_k

Kind regards
Deanne Pijl

As I hope you all know, I started a small project on The Cape Verde Island, São Vicente.

First part is done successfully, which was introducing and teaching pan. They never heard, saw or played a steelpan before. I was lucky that Nostalgia Steelband from London, lend me some pans, and took them with me, payed my own ticket to get there, and taught them how to play. 

The goal was to form a small steelband together with the inhabitants of São Vicente and play on their carnival parade.

And it worked! ( look at the video Cruzeiros Do Norte) They love the sound and want to learn everything there is to learn about pan.

So now I have to start the Second part of this project.

AND I NEED ALL OF YOU TO MAKE THIS HAPPEN!

Cape Verde is a poor country, hardly any work available.

How can we get pans over there, with them not having the possibility to pay for the instruments.

The local music teacher Eddy Max, is looking for ways, by talking to the council, to see if they are willing to contribute.

My question to all of you, and especially the big steelbands, is if there is a possibility to donate a pan.

Then they can start a panyard. They would be so grateful if this works.

The Third part of the project will be to learn them how to make their own pans. I can't do that myself, don't have the skills. But as I got in contact with Bowie Bowei from Nigeria, he is willing to help me in this.

PLEASE HELP FOR THE DEVELOPMENT OF PAN!! and sent them some pans.

If you have any other ideas, please tell me and respond to this letter.

Hope we can succeed in spreading pan to another part of the world!

Regards

Deanne Pijl

The Netherlands

Hello Everyone

We all Love the steel pan and im sure you all know about the Digital Pan that has been developed by Digital Business.

The Full Version of the app is now available for FREE for Android, iOS and WIndows Phone 7. So feel free to download the Full version of Digital Pan on your iphone, tablet or ipad today and enjoy the latest innovation to TnT's culture.