Steelband quickly became the national “sound” and instrument of Trinidad. Pan, an instrument forged through the oppression of imperialism, is unique and has a bright sound that quickly gets your feet going and your body moving. At its inception, Steelband and Pan wasn’t accepted, and was even degraded for its sound and construction, but now is a staple in Trinidad’s largest festival of the year, Carnival, and is the basis of Trinidadian national pride.
Trinidadian culture around Steelband has always been greatly political. In Carnival in Trinidad by Shannon Dudley, he discusses calypsonians in the tent tend to have more serious political topics each year for Carnival, but politics is at the root of Trinidad’s Steelband inception. In the time of Imperialism, Trinidad was a Spanish colony that held slaves used for cotton and sugar plantations. During this time, many previous traditions in Trinidad, such as kalenda(stick fighting), which was banned by the Spanish for being too loud and devilish. In turn, they couldn’t play on their instruments, and were left silent. This wasn’t the case for long. Innovation (and a sort of musical revolution) brought new traditions. Forks/spoons with bottles, brake drums hit with sticks, the tradition of Tamboo Bamboo (as we discussed last week), and using oil drums. Since these weren’t the instruments and practices banned, they were free to make the music they desired. Eventually, they learned how to make different notes (or pitches as discussed in Bonnie Wade’s Thinking Musically), and Pan was born. While not accepted at first, steelband has now become the national icon, and a symbol of emancipation.
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Most of the steelband music played in Carnival are songs that have become iconic over the years. Such music achieves its legendary circumstance through its association to this nationalistic pride and its expression within the musical structure. A particular song that has been iconic since 1956 is the calypso, Jean and Dinah by Mighty Sparrow. Sparrow’s calypso refers to how the departure of the U.S. Navy from the base during World War II caused Trinidad to worry about economic losses. The songwriter teased the Port of Spain’s fears by metaphorically comparing it to the prostitutes in Trinidad and the avaricious Americans (Dudley, Carnival Music in Trinidad, p. 28) In this video, a steelband on the road plays Sparrow’s calypso and one can hear the joyful participation of the audience. (Sparrow's Jean and Dinah by Steelband on the road, Carnival 1956). This celebratory music pushes the calypsonian author’s encouragement of unification and pride by informing Trinidadians that they didn’t need to rely on the Americans for security. In addition, the nation needed to rejoice in their gained independence and control of the Port of Spain. This public spirited association of the steelband performance also emphasizes the piece’s catchiness, which is achieved through the musical texture. Jean and Dinah “plays on a steady pulse, matching the pace of a dancer’s evenly spaced footsteps” (Dudley, Carnival Music in Trinidad, p 49). Along with the jovial pulse it also contains a simple chord progression: I, I, V, V, V, V, I, I, I, I vii, IV, iv, I, I vi, ii V, and I. The simple chord progression is easy to remember because it plays on mostly major chords and the chord structure moves with the mood of the text so the audience can participate in the song. Its rhyming construction ( AABBCCDD etc.) also enhances the desire to dance and for the audience to sing (Jean and Dinah lyrics). Thus, the meaning and the musical construction of Sparrow’s composition became so iconic for Trinidadian pride because the concept of the lyrics motivated communal rejoicing of independence and the texture of the song prompts Trinidadians to dance, sing, and remember the words so they can exalt and remind themselves of their rightful freedom and power as a community. What more to give off such an outward expression of communal spirit than to use the steelband to show off their own sound.
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In the modern age, Steelband has taken a remarkable turn in terms of the genre. When one looks at, or listens to a steel pan being played, the first image that comes to mind is probably something like this, some nice Caribbean reggae music with the steel pan coming in at about 0:56. The music is very upbeat, putting images of a white sandy beach in the mind, coconuts with those little umbrellas in them, the sun shining with clear blue skies, and everyone is in a state of perpetual paradise. This may be due to pop culture, and mainly lighthearted movies, placing this music in scenes of tropicality. What one might not think of is Bach’s “Concerto in D minor”, Beethoven’s “Moonlight Sonata”, or even Mozart’s “Eine Kleine Nachtmusik” being played by a steel band. But indeed, while not necessarily in the glowing spotlight of society with its subliminal associations of paradise, the steel pan can take on a more serious musical tone. But it’s not just classical music. The branches of steel pan music also extend into pop music (many videos of steel pan covers can be found on This YouTube channel), like an entire steel orchestra playing Rihanna’s “Please Don’t Stop the Music”. This becomes an outreach of Trinidadian pride to western ears. An intriguing sound with common music that we’re used to, Westerners can be more intune and can learn about an amazing tradition and its even greater history.
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In conclusion, the steelband became an overall musical symbol of Trinidad’s pride because the Spanish atrophied most of their instruments and the pans revolutionized their own community’s sound. The steelbands also were instruments to enhance public spirit by performing iconic songs that motivate the Trinidadians to express their unity and sound. Furthermore, the pride is also expressed in Trinidad through the unique instruments by covering other nations music to extend their own cultural sound. The Port of Spain demonstrates how cultural spirit arises from the need of one communal sound and how it can be communicated to not only their own people but to other nations. In this way can their patriotism resound and keep their culture meaning alive.
Citations
Glenroy, Joseph. “Sparrow’s Jean and Dinah (Yankees Gone) by Steelband on the road, Carnival”. YouTube. 17 Apr. 2011. Retrieved from: https://youtu.be/gD1kb8R_IJ4
Dudley, Shannon. Carnival Music in Trinidad: Experiencing Music, Expressing Culture. New York, Oxford. Oxford University Press. 2004.
Murphy, Jack. CALYPSO: Jean and Dinah Mighty Sparrow Lyrics. 2015. Retrieved from: http://www.elyrics.net/read/c/calypso-lyrics/jean-and-dinah-mighty-sparrow-lyrics.html
Credits:
Nick Delossantos: 3rd paragraph, videos and editing
Erika Query: Introduction, 2nd Paragraph, videos and editing
Holly Winter: 1st Paragraph, Pictures, editing, videos and Conclusion
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