Panorama’s Ill-Advised Drift Away From Carnival
Symposium tackles the Panorama question: Is
there a need to revisit the Steel Band
Panorama Format?
by Les Slater
Brooklyn, New York
- It was the Carnival celebration that gave
rise to the steel band, so it was only
fitting that George Goddard, George Yeats
and others (including Desmond Chase) would
have pressed authorities for the steel band
to have a forum of its own in the organized
Carnival festivities, beyond its then
dominant role of providing music for street
revelry. Panorama was thus intrinsically a
Carnival animal from its inception. Whether
by moves that were deliberate, or through
the ineluctable demands of what some might
call “progress”, or on account of whatever
combination of factors, we have seen notable
signs of fissuring in the once seamless
pairing of Carnival and Panorama. This paper
attempts to identify those areas where that
Panorama/Carnival cleavage has manifested
itself in a trend that is believed, here, to
be not necessarily a positive one.
When the idea for a Carnival-time steel band
extravaganza was publicly introduced, I
personally recall the late Andrew Carr,
somewhat of a culture czar for the then
government, making the point that although
Carnival’s decision makers appreciated the
steel bands’ fondness for bomb tunes and the
like, it was felt that the proposed new
Carnival vehicle for pan should be a
celebration of local music, i.e. calypso --
further evidencing Panorama’s rootedness in
the DNA of Carnival in Trinidad and Tobago.
We detail, under the following sub-headings,
what aspects of Panorama’s disengagement
from the larger festival that gave it birth
we consider to have been steps taken with
perhaps the best of intentions, that may not
ultimately have been indicators of forward
movement for pan and Panorama, as envisioned
by those who championed them.
CONCERT STAGE
In a conversation some years ago with
Junior Pouchet, one of the truly remarkable
talents to have inhabited the Trinidad &
Tobago pan culture, I mentioned my
puzzlement and indeed unease over the kind
of transfiguration Panorama’s opinion
shapers had apparently sanctified as the new
normal for Panorama music. I referred to the
typical Panorama piece as a classical
rendition of a calypso, and Junior told me
he had never heard it described that way,
but thought the description interesting. For
the most part, the music played on the
Panorama stage has been music that, for a
number of years now, I have had no
compunction to describe as concert stage
music. I repeat: for the most part. In rare
instances a band’s offering may attain a
place of such singularity as to pass what
might be called the revelry acid test,
meaning the piece shows itself eminently
compatible with the spirit of Carnival… at
least what I presume lots of us still
consider the spirit of Carnival to be.
Once upon a time when the judging
guidelines for Panorama didn’t necessitate
reams and reams of paper, as today, “spirit
of Carnival” used to be one of the criteria
stipulated. And I always thought it a bit
odd that the rules makers found it necessary
to do this, since to me, Panorama and the
spirit of Carnival were inseparable. That we
find in the design of the typical Panorama
piece today a form that evinces no
obligation whatsoever to revelry as a
centerpiece of the Carnival experience,
represents, for me, a major contradiction.
Of course, we dare not ignore that the
steel bands’ place in Carnival revelry is a
far cry from what it was a few decades ago.
And researchers today and in years to come
will probably grapple with this
chicken-and-the-egg question relative to
steel band music and Carnival revelry: Did a
fixation with Panorama come to supplant the
steel bands’ participation in street
parading; or did street parading’s fancy new
direction (high-decibel music, hordes of
cavorting females and all the rest)
summarily sideline steel bands as a factor?
Whichever is correct, bottom line is that
Panorama came to be a vehicle for rolling
out music that cannot objectively be
regarded as a proper fit with any other
component of the Carnival cycle. The obvious
conclusion to be drawn here, that steel
bands have been content to make
participation in Panorama the sum total of
their Carnival involvement, has always
struck me as one of the most unfortunate
twists in our Carnival narrative. It’s quite
a retreat from once boasting the one element
in Carnival as a global phenomenon that made
the Trinidadian model unique, namely pan
music, to this sorry pass at which we find
ourselves here in the 21st century.
REPERTOIRE
DEFICIENCY
Martin Daly, who
writes a column in the Trinidad Express and
who appears to be a genuine lover of pan
music, recently begged to disagree with
those who he said rail against the steel
bands’ slimness of repertoire or total lack
of one – something that seems to have drawn
the public’s ire for years now. Daly cited
chapter and verse to support his contention,
and we know there are exceptions to the
general rule. But I don’t think there can be
any disputing that Carnival-time steel band
repertoires have taken a major hit compared
to days of yore when, again, music for
revelry occupied a prominent place in every
steel band’s Carnival preparations. On the
Trinidad scene, kudos are in order for those
well organized bands like All Stars,
Starlift and Exodus which have managed to
maintain a presence in the masquerade
tradition, and with it, the ability to be
musically road-ready.
For lesser
endowed bands, the incentive to focus on
music beyond the requirements of Panorama is
understandably minimal. Since the instances
of bands as strong community institutions
have dwindled considerably, the built-in
support base for road maneuvers is no longer
part of the package. If the chance of
learning and performing music for an ample
supply of fee-paying costumed revelers is
almost non-existent, there remains only the
“diehard” option of investing time in
non-Panorama music for the sheer love of it,
which is perhaps not too practical a
possibility for getting all or most of a
band’s membership on board.
Desperadoes at
Panorama
The cold
truth is that with but few exceptions,
Carnival, for most steel bands, transitioned
to become an anti-climactic adjunct to
Panorama. In those circumstances the idea
that no high priority is given to creating
repertoires for people’s Carnival-time
enjoyment should be no mystery. Which again
begs the question: In the country where the
steel pan is supposedly the designated
“national instrument”, are the powers that
be comfortable with the idea of many steel
bands having settled for that kind of
diminished role in Carnival, by far the
greatest national showcase for our music?
There is perhaps no more dramatic
representation of where Carnival rates for
many steel bands than the intensity and
plenitude that attend their appearance at
Panorama and the token showing and paltry
numbers that mark their road appearance…if
there is a road appearance at all.
ADVERSARIAL
RELATIONSHIP
I am all for
encouraging creative output among folk in
the steel band community, including
composing music for Panorama or for whatever
Panorama may or may not become, or for any
other forum for musical expression in which
the steel band is involved. The steel band
has a proud history of having brought to
light amazing talents whose contributions to
the wonderment of the art form have stopped
world-class musical minds in their tracks.
But here’s the thing. The latter-day
practice of Panorama being a dueling field
for a plethora of original compositions
coming from the steel band ranks is on the
one hand laudable and yet somewhat a point
of concern. And it is the appearance of
“apartness” by the steel band community in
opting for this self-generated music that I
find troubling. There are indications in
this of a desire to not be integrated into
the whole Carnival experience which, in
light of other unsettling developments, are
worrisome.
Veterans from the days of
pan first finding its place in Carnival,
back in the 1940s and early 50s, would tell
you there were instances of bands not
finding the output from calypsonians
satisfactory and consequently resorting to
music from other sources, such as Latin and
pop, to fit the bill. The most renowned
historical example of this perhaps being the
German folk song “Happy Wanderer” emerging as
the 1955 road march. The significant
distinction between the situation back then
and today’s so-called ‘pan tune’ explosion
is that back in those formative years the
bands perused the available calypso music
stock before concluding that alternatives
were needed. Making a predetermination that
regardless of what flows out from the
calypso community, “We going wid we own
tune” is not, I believe, a healthy or
constructive position for steel bands to
assume. I must confess that if there is some
circumstance in the interaction of the two
communities – pan and calypso – that has
occasioned rancor or mistrust or something
else negative on the part of pan folk, I
plead ignorance of it. But to be sure, there
can be the makings here of an adversarial
relationship which both camps should find
quite concerning.
Carnival
essentially is a shared experience. An
arbitrary diss of one of the core
contributors to what gives Carnival its
mojo, namely the calypso/soca community,
goes against the grain of what Carnival
should embody. One cannot but think of Lord
Kitchener, and his enduring commitment to
write music for the pan medium, and how
would he have reacted to being capriciously
ignored by a fraternity to which he
obviously had a special connection.
The late lamented Maestro, another bard for
whom pan music was very special, had a 1976
composition, “Champion of the Road,” in
which he chastised Carnival’s music
providers (then very much including steel
bands) for the undemocratic manner of
selecting music to be played on the road.
After suggesting that the musicians should
sample the offerings of all and sundry of
his calypso brethren, Maestro concluded:
“And then when various tunes are heard the
one that carry the load/Should be the
champion, champion of the road.” If there is
a reason why various tunes shouldn’t be
heard before bands decide today what they
will play in Panorama, I fail to see it.
Which brings to mind another aspect of
Panorama music and its function to
entertain.
THE PEOPLE IGNORED
Clive Bradley - photo by
C. Phillips
I
wonder if we ever again will see the likes
of Clive Bradley in the Panorama picture.
Bradley was not only a musical whiz, he
brought a level of understanding of the
social dynamic instructing this annual
outpouring of pan music that I don’t think I
saw replicated elsewhere. Bradley was
forever mindful of how much Panorama was
popular culture – a people event. And so it
would have been interesting to see how
Brados would have responded to this new
vogue promulgated by the pan culture’s
movers and shakers, of presenting a piece
for Panorama that‘s not exactly “out there”.
His selection of pieces like “Horn” by
Shadow or “High Mass” by Rudder underscored
the premium he placed on relating to the
people in the course of this exercise.
So guess what! Maybe it was the ghost of
Bradley hovering over his beloved Despers
this year in the band’s choice of Benjai’s
popular “Trini” with which to do battle.
Bradley would love that. I’m not one for
having a favorite in this Panorama thing.
But just because the spirit of Bradley seems
alive and well in his old stomping ground
this year, “Go, Despers!”
BONANZA FOR PANORAMA,
NOT FOR PAN
I believe all pan
people should feel offended by the $2million
offered as prize money in this year’s T & T
Panorama or the $1 million offered last year
or whatever was offered in the years just
prior. And that’s not because I think it
should instead be $5 million or $10 million
because I don’t. Rather, I think this
gimmick of feigning extravagance on this
particular pan activity is simply a bogus
display that camouflages what’s not being
done for pan. It is meant to convince the
gullible that interest in pan is genuine.
And it disturbs me that participants in the
Panorama wind up as unsuspecting pawns in
this charade by those who have at their
disposal the resources to make it all look
real.
An alleged
show of goodwill and concern toward the
steel band community by way of what seems an
attractive compensation offer to Panorama
participants hardly translates to serious
examination of where the pan movement has
been and where should it be headed.
I
believe pan people ought be very particular
as to what extent they unwittingly encourage
a dependency syndrome that so far, in the
case of pan’s birthplace, doesn’t have a
whole lot to show for all the years of this
noxious practice. Panorama being the grand
stage, Panorama has been the setting in
which the dependency syndrome is most
magnified. Even as they raise the stakes on
the other side, teasingly looking to add a
further sense of realism to the farce, it
would truly be a bummer if those who make
the Panorama happen were snookered by these
antics from those calling the shots. Sincere
believers in this art form cannot afford to
have an obsession with Panorama eclipse the
larger matter of a sound vision for pan
music especially in Trinidad and Tobago,
since there seems to be no shortage of
inspired applications and a welcome
curiosity in worlds far away from where pan
was incubated. Panorama, at all costs, must
not be allowed to get those of us who care
off our game of being unfailingly committed
to vigilance. If it looks to be doing that,
then coupled with the steel bands’
unfortunate disengagement from Carnival in
its totality, a pretty strong case could be
presented, in my opinion, for the Panorama
format to indeed be revisited.
by
Les Slater
Contact the author at
-
slatertalentmart@yahoo.com
click for
additional articles from the symposium
Leave
comments in the
WST Forum
|