panjazz international south africa 2010

Transcription

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Robbie
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BAS works in partnership with regional organisations and bands to lobby authorities
and decision makers to value the significant contribution bands make to the
communities in which they operate. Their sustained programmes of classes and workshops support programmes around community cohesion, citizenship, enterprise and
are valuable interventions in engaging young people and developing their musical
capacity. Internationally, we are supported by Pan Trinbago, the world governing
body for steel pan, and we work closely with our counterparts in Europe, New York,
Miami and the Caribbean to promote the instrument and the art form to its highest
level.
Our joint work with the UK Pan Tuners Guild , a network of the country’s leading pan manufacturers and
tuners and the only organisation of its kind anywhere in the world, continues and we jointly work with
them to ensure the quality of the instrument is produced and maintained to international standards.
Our future plans include encouraging young people into the profession to ensure the UK has the capacity to meet the demand for quality instruments. In this difficult financial time we are all experiencing,
we have noticed that funding and paid performances are in steady decline. To combat this BAS is
working on strategies so that musicianship is sustained and best positioned for continued growth and
success when the climate improves.
One of the many strategies we have implemented is the successful planning and capacity building
program delivered through our Future Development Forum - a network of young people who are being
supported and enabled to reach their potential as future leaders of the steel band community. One
event they organise is our annual Pan Explosion event, a showcase for new talent and the commissioning of new music.
Over the past few months we have been successful in rebranding the Pan Podium website and have
made a conscience decision to redesign the layout of the magazine so it is in keeping with current
professional media standards, another service from which the fraternity can benefit. Membership to
BAS is open to any steel band (subject to minimum requirements), solo pan player or individual with
an interest in steel band music, art and culture, so please make contact so we can help you to push
yourself and the art form to higher heights. Without you there is no us.
The Board Of The British Association Of Steelbands.
De
bi G
ardn
Formed in 1995, BAS is the only national organisation for steel bands in the UK,
dedicated to the development of the art form through networking, information
sharing, collaboration and training. It is a voluntary organisation whose day-to-day
work is overseen and delivered by its elected Executives who are committed to
raising the standards of playing and performance in steel pan.
er Message from the Board
Table of Contents
Pan Podium Summer 2010 Edition Issue 21
FROM THE EDITOR
Summer has arrived in Britain and the warm temperatures reflect
Caribbean weather setting the stage for another successful
Notting Hill Carnival. 2011 marks the 60th anniversary of the
arrival of steelband in the UK.
The Trinidad All Steel Percussion Orchestra’s, TASPO, appearance at the Festival of Britain on the 26th July 1951 proved to
be an iconic mile stone for the artform in Britain.
Our revamped website is full of online news, articles, photos and
lots more. Further investment in the magazine sees an increase
in readership through our augmented distribution network. We
continue to pursue our mission of global support and promotion
of the artform in conjunction with our universal media partners
together with our programme of media development and look
forward to another successful decade ensuring that steelpan,
its music, musicians, arrangers, administrators and organisations
are always at the forefront. Our busy schedule of events includes BAS/GLA Trafalgar Square
Steelband Jamboree, BAS/CAPCA Junior Panorama, National
Panorama, Jouvert and Pan on the Road at Notting Hill Carnival
followed by Pan Explosion and our Annual Awards Dinner.
2011 will see an increase in events organized to celebrate
the 60th anniversary of the arrival of steelpan in the UK. I offer
my personal thanks to everyone who has contributed to Pan
Podium’s success and look forward to your continued support in
making Pan Podium a beacon for the artform.
Pan 4 Life!
Robbie J - Editor
Center Stage with - New World Steelband 6
Special Feature - In This Synthetic Pan World 8
Center Stage with - Cambridge University Steelpan Society 10
Pan Podium Event in Tune - Dutch Junior Steelband Panorama 12
Readers Letters/CD/Book Reviews 14
Pan Podium Artiste Spotlight - Debra Romain ‘A Pan Diva’ 16
One to Watch - Jaden ‘Ninja’ Holder 20
Special Feature - When Steel Talks 22
Center Stage with - Pan4U Steel Band 26
Pan Podium Artiste Spotlight - Christopher Tanner 28
Center Stage with - T&T National Steel Symphony Orchestra 30
Center Stage with - The Caribbean All Stars Steel Band 34
Pan Podium Events in Tune - BAS Notting Hill Panorama 2010 36
Special Feature - Pan in the Classroom Unit 40
Center Stage with - Trinidad and Tobago Chinese Steelband 44
Pan Podium Artiste Spotlight - Cindy James 46
Center Stage with - Milnthorpe Steelband 48
Center Stage with - PANCH – Swiss Steelband Association 50
Pan Podium Events in Tune - Pan Jazz International in South Africa 52
Special Feature - Megan Francis and her journey
to the Trinidad & Tobago Panorama Finals 56
Editor: Robbie Joseph • Contributors: Ray Funk, Andrew Martin, When Steel Talks, Jon Mchugh, Pan 4 U , Panch, Debra Romain, Asha France, Brent
and Crystal Holder, Cindy James, Pete Beadell, Juliet Sharpe, Anthony Blackman, Ylanga Blinker, Victor Prescod, Jessel Murray, Kenneth Chang On,
Megan Francis and Farai Masaisai. Photography: Response Photography • Cover Design and Art Direction - Jean-Pierre Potéon - www.poteon.com
Published by: British Association of Steelbands - The Tabernacle, Powis Square, London W11 2AV. • Telephone: 020 7565 7813
Fax: 020 7565 7810 • Email: [email protected] / [email protected] • Website: www.panpodium.com
The views published in Pan Podium are not necessarily the views of the editor or publisher. All material contained in this publication are the copyright of Pan Podium. No
material written or photographic should be reproduced in any way without the written permission of the publisher. No liability will be accepted for any errors which may
occur within the magazine.
Pan Podium • Summer 2010
NEW
WORLD
The young people also take part in activities such as art and
crafts, painting, acting, dancing and team games.
Arthur F
r an
c
e
MB
E
STEEL ORCHESTRA
NWSO is always actively encouraging new members to join,
and welcomes any interest from young children and adults
alike. NWSO continues working tirelessly to keep the steel
band culture alive.
'Life is what you do and failure is a
word that simply should not be accepted'
Pan Podium acknowledges the laborious efforts of all members
of the NWSO and wishes them every success in future.
by Asha France
New World Steel Orchestra, originally founded
in 1984 by Arthur France MBE was re-launched
twenty years later in 2004. Arthur was born in
Nevis the sister island of St. Kitts. Among
the most lasting achievements has
been his promotion of the first ever
Leeds West Indian Carnival in 1967,
throughout his life he has had a
love of steel pan music.
From the 1960s in Leeds when
he established, ‘The Gay Carnival
Steel Band’, he has had ambitions
to raise the profile of steel pan.
At the same time he has pushed to
encourage young people to learn to
play. Out of this ambition the New World
Steel Orchestra was born in 1984.
6
NWSO is proud of the support and admiration it receives from
the community and the City of Leeds. Leeds City Council has
been a supporter of the orchestra, its aims and achievements,
as well as its place in today’s society for some time. NWSO
is proud of the many partnerships it has forged with local and
fellow charities and community organisations.
to come together in a common and shared heritage.
Almost 6 years after the re-launch, The New World
Steel Orchestra is proud to boast of not only
three (3) youth orchestras comprising of
sixty (60) young members with ages
ranging from five (5) to twenty one
(21), but also an adult orchestra that
has dazzled and wowed audiences.
They hold classes for beginners and intermediate players.If
you would like to learn ‘The Art of Pan’, classes
are weekly
• 8:00 pm - 9.30 pm Wednesday (intermediate)
• 5:00 pm - 6:00 pm Sundays (beginners)
• 6:00 pm - 7.30 pm Sundays (intermediate) Their classes are taught by NWSO’s arranger
& tutor Dudley Nesbitt & assistant tutor Melvin
Zakers. Both tutors are renowned for teaching
steel pan in a number of schools in the West
Yorkshire area.
Whatever your requirements rest assured the
New World Steel Orchestra can create that
unique musical experience to thrill or calm any
audience, from a local community event to a
concert or corporate function.
NWSO has the flexibility to provide a band tailored
for your needs. With over 40 years of expertise
their dedicated team of people can offer support
and advice to help make your event a success.
Spectacular performances which
include, the celebrations for Leeds
eight hundredth year (800th) year as
a Commercial city with HRH Princess
Anne, the Black Police Association,
York Minister, The Sage, Carnival
Messiah @ Harewood House and much
more.
Now, in retirement, Arthur continues to press for
the establishment of a fully funded centre for a
Leeds Steel Youth Orchestra in Chapeltown,
Leeds. NWSO’s re-establishment was
driven by their quest to encourage the
participation of local, young people in
all aspects of the steel orchestra.
New World Steel Orchestra has developed rapidly
over the years since it’s re-form. One of the orchestra’s
aims was – ‘to have a fifty (50) strong, highly
professional youth steel orchestra, not only for
young people and the community but one
which is recognized locally, nationally and
internationally by the year 2010’. Their
aim has been met and surpassed.
They also wanted to offer the
opportunity to facilitate the coming
together of young people to enjoy the
music of their culture, for them to express
themselves through sound, to be creative,
to stand proud and to appreciate their
heritage, to allow young people to appreciate,
learn, enjoy and embrace a culture not belonging to
them, but a culture playing such an important role
within part of modern day society, in turn allowing all
New World Steel Orchestra is about
developing the whole child. NWSO is
fully committed to the Every Child Matters
agenda put forth by the Department
for Children, Schools and Families. As
such at NWSO they run alongside and after
rehearsals, an informal educational program,
which allows the young members to not only learn
about the history and culture of the steel pan, but
also to thrive and develop personally and socially.
To contact NWSO write us at:
NEW WORLD STEEL ORCHESTRA
82 Sheepscar Street,
North Leeds LS7 3AF
Telephone us:
Tel/fax: - 0113 307 0001
Mobile: 07931 412 227 or 07859 934 951
Email us at
[email protected] or
[email protected]
or visit our website at
www.newworldsteelorchestra.co.uk
Photographs courtesy NWSO.
7
ability to match any big band or DJ at Carnival fetes, and, on the road. Many couldn’t
believe their eyes and ears on Ariapita Ave.
this past Carnival Tuesday morning, not only
hearing the sweet sounds, but witnessing a
modified steelband pounding as loudly as
the big trucks.
This new and unique steel and brass product
was launched in 2005; their claim is that this
has made the band more manageable, and
is a great method of preparing young panists
and musicians for professionalism in the music industry.
The PHI Pan mystifies Southern
Pan Jazz Audience
In late October 2008 in the city of San Fernando, the
Trinidad and Tobago Steel Pan and Jazz Festival was
launched at the Skiffle Bunch Panyard.
To everyone’s surprise, an act which was not advertised became apparent, when a group of musicians
were seen sound checking some different types of instruments, with electronic gadgets, laptops/monitors
and music sheets.
Without much fanfare, the audience was introduced to
these instruments, concave in shape i.e. sunk like the
55 gallon steel pans but without sides, hanging on single pan stands, with a black plastic outer surface, and
a black and white
spider web outlay
interior.
That Pan folks, is
a layman description of the PHI pan,
the
Percussive
Harmonic Instrument, which is the
second innovation
coming out of the
UWI Laboratory,
the first being the
G-Pan.
Technologically speaking, the PHI merges the powerful facility of MIDI, a computerized interface which
facilitates the communication of electronic music synthesizers over a network, with a physical form inspired
by the traditional [spider web] Steel Pan. It can be amplified just like any electronic instrument available on
the market.
The PHI employs modern electronics, and manufacturing techniques, utilizing lightweight materials to
improve mobility and reduce transportation, handling
and storage costs, delivering a robust instrument that
significantly addresses those major concerns of the
current bulky Steel Orchestras. The PHI looks like a
plastic pan which could be played with sticks or fingers, but the music reproduced is similar to a syn8
thesizer’s wide variety of sounds, which can either
imitate other instruments or generate unusual new
timbres.
Steel & Brass Rocks We Beat
St James Live
For quite a few years, including this year’s 10th edition
of We Beat - St. James Live, a truck borne amplified mix
of steelpans, brass, traditional instruments and vocals,
has been in receipt of very little attention, although they
consistently make potent pan music statements. This
incredible mix comes from the roots of Rhapsody Steel
Orchestra which was originally formed in Arima as a
conventional steel band in 1979. They became non
existent by 1985, but were rejuvenated after 14 years
of dormancy in 1999.
The band was eventually passed on to the next generation hence the origins of the term/name Rhapsody
Rebirth, the New Generation. The focus, name and music of the band was then fashioned to attract the youth
and by extension the future. Currently they are known
as Rhapsody Steel & Brass, attributed to their successful experiments with the fusion of the steelpans, brass,
traditional instruments and vocals.
They have a fantastic product to sell, a powerful musical
sound which conventional steelbands lack, being the
The UWI Steel Pan Research Laboratory has certainly demonstrated that they understand the market for Pan, and will deliver a new range of 21st century instruments.
They have continued to operate amidst some criticism, with utterances such as - the PHI and G Pans are works in progress - who
should receive the nation’s highest award - who’s the first to revisit a
National Steel Band - why no consultation with the “World Governing Body” - an organization given business opportunities by past
governments to be self sufficient and blew it, and, their massive
oversight of protecting intellectual property by patenting the National Instrument, which, by the way, seems to be a major motivation behind the PHI and G Pans.
Simply put, Steel Pan has had to be re-defined and re-invented
to be patented and branded as “made in Trinidad and Tobago”.
Clearly, this era of progress and change gives us a better understanding of the negative effects of frustration, lack of support, and
recognition, which prevented Anthony Williams from furthering the
spider web and the fourths and fifths concepts. The criticism, jealousy and violence meted out to Bertie Marshall and the Hilanders,
curtailing their research and experiments in the amplification of
steel pans.
My initial reaction to this wide ranging instrument, took
me back to the lyrics of Synthetic World, a late 60’s early
70’s Reggae and Pop blend from Jimmy Cliff, a song
reviewed with revolutionary phrases by Billboard among
others as “politically informed” and “defiantly critical”.
Although this song is a socio political commentary of the
situation then, and not about synthetic music.
Pan Connoisseurs should recall that simultaneously,
Steel Pan; its music and Panorama, were reaching new
heights and breaking traditional barriers. New styles,
sounds and types of Pans were being introduced, arrangers were stepping up their games, so much so that
own compositions for Panorama debuted in this period
as well.
Towards a Brighter Future for Pan in T&T
The government has finally decided to embrace, recognize and
reward these talents just as the US does for Ellie Mannette, no wonder why he refuses to involve himself with Pan in T&T.
This innovativeness allows them to use
fewer players, and to achieve an amplified
well balanced sound through an electronic
DJ system, utilizing a sound engineer, mixing board, proper microphone setups, and
more recently the PHI [Percussive Harmonic
Instrument] Pans, has been integrated into
their amalgamation.
I encouraged a pan fan like myself, to listen and observe Rhapsody on the streets.
His immediate comment after experiencing
their big band sound was - Bertie Marshall
is the man who started this amplified thing
way back in the 1960’s, look how long it has
taken us to reach this level - when he recognised that the PHI was powered by laptops/
computers, and the interior outlay of the instrument was similar to Tony Williams’ spider
web of the 60’s, we both pondered aloud as
to whether the non acceptance or misconception of early techno approaches such as
these, has made our country losers rather
than leaders of the steelpan industry.
Unfortunately, these earlier researchers lacked high tech resources,
funding, government or moral support. They were driven by pure
vision and passion for Pan and its music. Therefore, in this synthetic
pan world we now live in, it may appear as though the Double Seconds, Spider Web, Cellos, Double Tenors, Rocket Pan, Bore Pan,
Quadro Phonic, etc. never existed before the PHI and G Pans.
The mixed views expressed beg several questions. Is this new and
improved interest in Pan and its music patronizing, political or for
real? Was the award partisan, or given to ensure that the UWI team
continues to raise the bar?
Do these recent developments mask or highlight the plight of present inventors and innovators, and of Mannette, Williams, Marshall,
Charles and the long list of early pan scientists who were never
substantially rewarded or recognized? My view is that areas such
as Culture and Sports should not be Government or State controlled. These should be some of the largest businesses or
business opportunities, run by private corporations.
Notwithstanding my undying loyalty, love and respect of what was
achieved with the 55 gallon version of pan, to maintain leadership
and gain the economic advantages of the steelpan industry, innovativeness such as the G Pan, the PHI Pan and Rhapsody Steel
and Brass is a solid way forward.
For more information on the G Pan and the PHI Pan logon to www.panadigm.com
Produced and Compiled by D. Anthony Blackman
Copyright Reserved June 17th 2010
9
CAMBRIDGE
UNIVERSITY
STEEL PAN SOCIETY
by Juliet Sharpe
'STEELING' THE SHOW IN CAMBRIDGE.
The phenomenon began in October 2010 when a student from Lucy
Cavendish College, Cambridge University decided that she was not
going to miss playing in a band while studying for a three year degree
in Geography. Juliet Sharpe, who previously played in the Luton Youth
Steel Orchestra, Revellers Steel Band and as a guest with Pan Elders
in Trinidad, enlisted the enthusiastic help of fellow students to form a
new society,‘The Cambridge Steel Pan Society.’
Steel Band loaned Liberators some pans
to get the players started and the Akeba
Organisation supplied percussion instruments to finish off the band. Eventually
CUSPS were able to get their first set of
steel pans from the renowned Gerald Forsyth OBE and the rest is history.
As President, Juliet felt it was very important promote the history and
culture of steel instruments instead of just simply forming steel bands.
Therefore the activities of the society will range from just listening to
steel pan music to educational workshops to visiting national pan
events. Debbie Romain, the UK’s foremost female pan arranger, who
has been teaching steel pan for over 18 years, was commissioned as
a musical director and things began to progress rapidly.
The society aims to have speakers from
the U.K. and across the world to visit the
home of the first “Steel Pan Society” at
Cambridge University. “There were some
bands in the area but we wanted something a bit more special than just another
band. When I first arrived at my college,
there were people who had never heard
of a steel pan – now as I walk around in
the local area, I’m stopped and asked if
I’m the ‘Steel Pan Lady,’ says Juliet with
a smile.
It wasn’t long before the Steel Pan Society’s first college band hit the
headlines of the official Cambridge University website. Liberators, the
first all-female college steel band stole the show, 11th March 2010,
with their debut performance which was held at the sherry reception
of the Lucy Cavendish Formal Hall. It was an innovative start to an
evening of Cambridge dining.
Since then Liberators, so named to reflect the spirit of Lucy Cavendish
College in Higher Education Facilities for mature women, has been
invited to play at Cambridge University Graduations, Film Festivals,
Conferences, Garden Parties and private engagements. The local
press has also featured CUSPS in The Cambridge News and monthly
magazine “The Journal.” The title “Liberators” is also reminiscent of
the liberation of steel pan and Caribbean Culture in one of the most
traditional English settings.
“It wasn’t easy getting CUSPS or Liberators off the ground” Juliet
stressed, “We had to obtain funding to buy our first instruments, but
we got by with a little help from our friends!” Starlight Community
10
However the work has just begun as the
society will be looking to develop college
steel bands across the network of over 30
colleges that make up this 800 year old
institution.
CUSPS has successfully started to raise
the profile of steel pan at Cambridge University and changed some of the stereotypical perceptions of steel pan. Thanks
to Lucy Cavendish and the pioneering
spirit of its ‘Ladies of Steel’ steel pan now
has a home at Cambridge University.
CUSPS will be hosting Caribbean theme nights as well,
where they can meet up with other steel pan players
and bands on a social level. As a Cambridge University student society, CUSPS is providing an invaluable
opportunity for students & others from across the country and indeed all over the world to learn how to play
steel pan.
This rewarding and enjoyable experience is something
they will all take home with them and use as an ultimate stress reliever in this intensive and competitive
environment.
CUSPS now hopes to inspire a wide range of students
and staff to be part of an annual tribute to steel pan in
which the Cambridge Steel Pan Society Steel Orchestra will demonstrate the power of pan in concert and
‘steel ‘the show in Cambridge each year. There is also
another surprise that CUSPS has for 2011 so watch this
space.
You can find CUSPS on Facebook or visit them on their
web pages below or just email [email protected]
Official Webpage
www.lucy-cav.cam.ac.uk/pages/students/clubs-and-societies/steel-pan-society.php
Cambridge University News
www.admin.cam.ac.uk/news/dp/2010031103
11
CSI wins Holland’s First
Junior Panorama Knockout
Competition
Celebrating our Caribbean Heritage!
The Caribbean Steel International Junior Steelband is the reigning UK Junior Panorama Champions for the 2008 and
2009. The band was formed in 2008 and has successfully performed at numerous events and venues.
THE CARIBBEAN STEEL INTERNATIONAL JUNIOR STEELBAND WON HOLLAND'S FIRST EVER JUNIOR PANORAMA KNOCKOUT COMPETITION
Croydon Steel Orchestra was formed in the summer of 2000 after the Croydon Schools Steel Orchestra folded. CSO
consists of pan musicians from two regional area steel bands in the borough of Croydon namely Addington and Woodside. CSO won the UK 2007 Junior Panorama competition.
HELD AT THE SIXTH AFRIQUE-CARIB FESTIVAL IN ALMERE, HOLLAND ON SATURDAY 26TH JUNE 2010; THE DAY BEFORE THE FESTIVAL.
THE EVENT WAS ORGANIZED BY YLANGA BLINKER HEAD OF AFRIQUE-CARIB BREATHTAKING FOUNDATION. THREE STEELBANDS COMPETED
FOR THE NEW TITLE, HOLLAND JUNIOR PANORAMA KNOCKOUT CHAMPIONS; THE BANDS WERE THE CARIBBEAN STEEL INTERNATIONAL
STEELBAND TRUST 'CSI', CROYDON STEEL ORCHESTRA 'CSO', AND THE DUTCH BAND CALLED BIJLMER KIDS STEELBAND 'BSK'.
Bijlmer Kids Steelband has performed at many events and reached the finals of the Amsterdam music school competition twice; even though they did not belong to that organisation. They have performed at various festivals all over the
Netherlands, appeared on TV and played at galas in the presence of members of the Royal family.
After months of planning and laborious work by their pannists, the bands were ready for their Festival performance
in Almere, Netherlands. On the day it was an early start to the activities with all players combining their efforts to get
their instruments set up and also participated in ‘warming up’ sessions before they initiated the start of the Panorama.
The sweet strains of steelband music attracted the public like bees to honey and the performance area was soon filled
with a large, appreciative and fully entertained audience.
As this was the first time this Panorama was being held it was relatively small but it was such a success that next
year’s competition in Almere is sure to be bigger and better with much more steel bands competing. CSI played a
Brent Holder’s musically arranged rendition of Alison Hinds’, ‘Roll it Gyal’ to capture the new title of Holland Junior
Panorama Knockout Champions.
THE WINNING ORDER WAS
1st Place - Caribbean Steel International Steelband Trust
2nd Place - Croydon Steel Orchestra
3rd Place - Bij lmer Kids Steelband
For more information on the event
visit the festival’s website
www.afrique-carib.nl
Afrique-Carib would like to thank everyone
who contributed to the success of their
sixth annual festival especially the
musicians, artists,
DJs and dancers.
12
13
From South Carolina, USA
Hey Pan Podium,
I recently obtained a copy of your magazine, Issue
20, and was very impressed by its quality and contents which is both informative and educational. I
saw that you were celebrating the magazine’s tenth
anniversary and I would like to congratulate you
on an excellent production highlighting the steelband culture globally. Wow, you guys have really
worked hard to ensure that the steelband culture
continues to be in the limelight and promoted
globally. I also noticed that you work closely other
media partners like When Steel Talks, great stuff.
Your magazine is also a great medium and an effective networking tool that puts people together who
love the fantastic world of steel. I have registered
to be on your mailing list for future issues and look
forward to it with great expectations!
Nigel Wilford
South Carolina, USA
From Potterhanworth, Lincolnshire, England
Hello Pan Podium,
I am a lover of books as reading is one of my obsessions. I came across your magazine and would like
to thank you for educating me on the steel pan
culture as I was brought up in rural England where
there was no interaction with the instrument.
Since then I have invested in purchasing some
steel pan Cds and find the sound very fascinating.
I would like to extend my sincere thanks to you for
introducing me to this wonderful musical genre.
As I play the piano I have tried to reproduce some
of the music, reharmonising and improvising as I
adopt the different beats. The music is exhilarating
and also captivating. I find it hard to tear myself
away to do my household duties when I am sitting
at the piano listening and playing along with the
music. Thank you very much for the inspiration. I
am now looking at purchasing a steel pan.
Catherine Paul
Lincolnshire, England
14
Renegades
The History of the Renegades
Steel Orchestra of Trinidad & Tobago
This book takes you on BP Renegades’ remarkable yet captivating journey
through the decades of their existence highlighting their outstanding achievements along the way. The steel pan is the great success story of acoustic
musical instruments in the twentieth century. It begins just before World War
II, when Carnival processions in Trinidad began knocking rhythms on bits of
metal, dustbins, pots and pans. Within a decade and a half the same gangs,
now called steelbands, were playing Chopin and Beethoven, mambos and
jazz, and of course calypso. Renegades tells the story of the steelband movement in words and images, focusing especially on the history of one which,
perhaps more than any other, has come to symbolise the success of steelband music: The Renegades. This is the remarkable story of a youth gang’s
descent into violence, and their heroic climb out of it and into musical excellence. Responsible for this publication are Helene Bellour who teaches French
and works as a freelance translator and editor in Chicago. Jeffrey Chock a
professional photographer in Trinidad where he was born. Kim Johnson, an
established journalist and researcher and Milla Cozart Riggio is James J
Goodwin Professor of English at Trinity College, Hartford, CT. Great reading
for any steelpan enthusiast.
Kim Johnson, Helene Bellour, Jeffrey Chock,
Milla Cozart Riggio
Behind
The Bridge – Andy Narell
From Chaguanas, Trinidad and Tobago
Pan Podium – Is Yuh Buoy Akee!
Yuh know how yuh buoy does be lookin out for
every edition of yuh magazine. So far you haven’t
let meh down and reading bout meh local culture
does make meh heart skip beats. The rest of de
world really tekkin we ting and showing we what a
great ting that Trinidadians have given to de world.
Buoy the hair does raise on my body when I think
how much licks ah used to get fuh going down in de
pan yard and now they playing pan in all them big
places like Royal Albert Hall and Madison Square
Garden. Buoy yuh see how time, effort, dedication
and mostly commitment does
really break down barriers and achieve yuh goals.
Listen nah ah must extend my most gracious gratitude for all de hard wuk all yuh doing in promoting
we culture to the world. Pan Podium yuh is doing
we country proud wid yuh magazine, it showing ah
positive ting especially wid all the wrong things going on in de place now.
Keep we flag flying high!
His 9th album as a leader, Narell capitalizes on his previous Pan Jazz work successfully incorporating
Latin rhythms with the beautiful tones of the steelpan. The dedicated title of the album, ‘Behind the
Bridge’, refers to the lower east side of Port of Spain, Trinidad home of the Orisha religion, culture and
drumming and is one of the birthplaces of the steelpan. Only one of the songs, the haunting ‘Sea of
Stories’ is a Narell original; the rest of the CD finds him interpreting songs by composers from Cuba
and Brazilian gems like Ivan Lins’ ‘Madalena’ and Pixinguinha’s ‘Lamentos’. At a time when jazz was
often accused of having lost its innovative spirit, Narell is still proving himself to be a very imaginative
risk-taker.
Modern
Steelpan Sound: Rhythm and Steel - Martin and Martin
High end music production and recording which allows this album room to breathe easily and affords
its listeners to benefit from that breath of fresh air. Eleven tracks of glorious music with all arrangements by Martin Richard Lehner. Martin Grah and Martin Lehner have certainly embarked on new
musical avenues with the steelpan in this co-production by these two Swiss musicians. The music
revolves around a new and modern role depending on the steelpan’s interaction with other conventional instruments and Cuban percussion. The famous Earth Wind and Fire’s, ‘In the Stone,’ opens
the album, setting its precedence and finishing with Billy Ocean’s, ‘When the going gets tough’. Truly
a pleasure to listen to!!
Groovin
– EXTEMPO Steelband
This album contains thirteen tracks of excellent musical arrangements and good musicianship. Studio
recorded it is very well executed. Swiss based EXTEMPO steelband led by Martin Grah have produced a product they can be proud of. From, ‘Annie I’m not your Daddy’ to ‘Kitchener’s Sugar Bum
Bum, EXTEMPO takes you on a musical journey incorporating a wide variety of musical genres.
Ricky ‘Akee’ Ashton
Chaguanas, Trinidad and Tobago
Contact Pan Podium
Milnthorpe Steelband
Have you got something to say about this magazine
or the pan industry in general? If so, please send your comments to
British Association of Steelbands
The Tabernacle, Powis Square, London W11 2AV
or email them to [email protected]
The CD is a live recording full of energy and vibes. Twenty tracks of jammed packed music with steelpan favorites such as Tequila Medley, Island in the Sun, Yellow Bird, Three Little Birds and Jamaican
Farewell. As this is their first CD I look forward to many more from this aspiring and motivated steelband from the North of England.
15
Debra first learnt to play pan from the age of nine
‘I want to continue
teaching, playing and
arranging music on
the steel pan so that
the culture continues
to grow and develop
as it is a fairly young
instrument being the
one of or the only
acoustic instrument
to be invented in the
20th century.‘
DEBRA ROMAIN
Pan Diva
16
at the ‘The Crypt’, in Paddington the then home of
the Ebony steel band. The band then under the musical direction of Randolph Baptiste, ran classes for
youngsters weekly, which is where her love affair
with pan began. As schoolwork took priority she had to
stop playing pan to focus on school and the other instruments she already played. At age nine, her commitment
to classical music was at the forefront, she received a
scholarship from ILEA which gave her free tuition to the
age of sixteen.
Debra played four other instruments and Opera was
her other love. She performed in various concerts as a
member of her school junior orchestra, and sang as a
vocalist in the three choirs and swing band, while still
a student at high school she became the conductor of
Burlington Danes Jazz Orchestra ‘Bassets Allsorts’ after
their conductor, Mr Bassett, died. As a vocalist, a young
black opera singer, Debra performed at the Royal Festival Hall, Royal Opera House, Covent Garden and as
a cast member of an opera written for children at the
Sadler’s Wells theatre.
At age thirteen she joined the Stardust steel band under the unique guidance of the late Randolph Baptiste.
At Stardust, she learned the importance of the instrument and its culture. She was also impressed
with their discipline. In 1989, she became a member
of the Ebony steel band; this move gave her the opportunity to gain bags of experience. She travelled
and performed throughout Europe. Ebony’s arranger
Anise ‘Halfers’ Hadeed and Ebony dominated the British pan scene in the 1990’s. This proved to be a lifetime
learning curve for Debra who discovered an interest in
arranging and was ready to take the leap.
1994 saw the birth of Debra’s very own band, the
New Creation Steel Band, an extension from her
local secondary school band, Burlington Danes,
where she began her teaching career in pan. In the
same year, she became the first British female bandleader /arranger to take a band – New Creation Steel
Band, to the national junior panorama competition.
Unsatisfied with the result of that competition, Debra
entered them in the Notting Hill Panorama ‘Champions
of Steel’ competition without a sponsor, just the support of family and friends. At that time the band
was a member of the PPA (Pan Players Academy).
Many of the players flew the nest after school and
have achieved individual successes as players,
soloists and arrangers of pan music in the UK and
she is very proud of their achievements.
It gives Debra great pleasure to see her students
become confident pannists, entering competitions, developing their own style in arranging and
performing. Her teaching experience spans over
18 years and many of her students have gone on
to successfully arrange and teach the art of playing the steelpan.
In 2008, Debra returned to the Notting Hill Panorama ‘Champions of Steel’ competition, this time as
the Stardust Steel Orchestra’s musical arranger,
the band she started her musical career with. She
has also played with the Liberators – the UK first
all girl steelband.She is currently the Manager of
the Ladies of Steel.
17
Musical Director of Stardust Steel Orchestra, Lucy
Cavendish Liberators Steel band at Cambridge University, Oasis Academy Steel Band, Enfield and Twyford School Steel Orchestra. When given the opportunity she has arranged several musical pieces
for the Mangrove Steel band where she has been a
member since the late 1990’s.
Teaching the art of playing pan has played an important role in her life. Since 1999, Debra was based
in the ‘Carnival Village’, Tabernacle, Powis Square,
London and has been teaching the steelpan art
form as part of the Mangrove steel band’s education
programme. She has taught a range of students,
some as young as five. Her role as an arranger of
the Mangrove Junior steel band has seen them
achieve Junior Panorama titles in 2000, 2002-05, TV
appearances/documentaries on BBC, ITV & Disney
Channel, performances for The Dioceses of Trinidad
and Tobago and runners up in 2006 BAS Pan Explosion competition. Debra has gone on to judge both
Junior Panorama and Pan Explosion competitions
several times.
Since 2007, Debra is very proud to have played in
the Trinidad and Tobago’s National Panorama Final
Competition with the Phase 11 Pan Groove Steel
Band led by the legendary Len ‘Boogsie’ Sharpe,
‘the Mozart of Pan’. He is a personal friend and mentor who has inspired and influenced Debra along
the way. When asked about her future aspirations
Debra stated, ‘I want to continue teaching, playing and arranging music on the steel pan so that
the culture continues to grow and develop as it
is a fairly young instrument being the one of or
the only acoustic instrument to be invented in
the 20th century.‘
Currently, Debra has started her own business offering tuition to students of all ages who wish to
develop their pan playing skills. She also offers the
opportunity for GCSE & A Level music students to
work on composition and scoring their pan music
which is being advertised on the Wedge Card site
promoting local businesses in RBKC.
18
Ladies of Steel is the new focus for Debra and the Cambridge University group; it
is an all steel, all female orchestra and will be undertaking various orchestral pieces
on the steelpan. Ladies of Steel will be working with operatic singers and classical
musicians to create a new dynamic steel experience attracting new audiences to
the steelpan art form.
Debra stated, 'I am honoured to have the opportunity to pioneer yet another
project which will expose the Trinidad and Tobago's national instrument to a wider
audience. As a British youth of Caribbean heritage it was imperative for me to have
this education growing up as a minority in the UK. It is important to me that pan
is valued and respected as a musical instrument and obtains an equal place in
higher education alongside other musical instruments.'.
19
JADEN
‘Ninja’
HOLDER
pan prodigy
At practice sessions he would
sit and watch the drummer on
the drum kit. He studied his every
move, every beat.
Jaden Holder was nicknamed
‘Ninja’ by his great grandmother
because of the way he moved.
He is now four years old and from
birth his parents, Crystal and Brent
Holder, quickly realised that he had
problems with his hearing. They were
told by the medical staff at the hospital that he was born with right ear
‘Microtia’ - which basically means a
small ear. Jaden has no right ear canal which has resulted in his hearing
being impaired on his right side.
As a result, he experiences problems
pronouncing words at times. However, this has never stopped him from
doing what he wanted to do. Jaden’s
love for pan music was evident after
his parents had played a steelband
panorama DVD and he wanted it be
played every morning before attending nursery.
His parents are well established
musicians with his father Brent
Holder, being the manager of the
aspiring CSI Steelband Trust and a
former World Steelpan Champion
soloist. Brent teaches the art of playing the steelpan in several schools in
the borough of Hammersmith and
Fulham whilst Crystal is a grade 8th
qualified musician and writes music
for their orchestra.
Both parents have played for several
world class steelbands including
Renegades, Phase 11 Pan Groove
and Ebony. Brent and Crystal started
bringing Jaden to steelpan practice
because he would cry incessantly if
20
they went without him. At practice
sessions he would sit and watch
the drummer on the drum kit. He
studied his every move, every
beat. After a good night’s sleep
he would arise early the following
morning and set up his toys in
the shape of a drum kit and start
playing the beats he had heard
the drummer playing the night
before at pan practice.
His parents were mesmerized
by what they were hearing. Very
soon, he picked up a pair of pan
sticks and started picking out
notes of the gig tunes he had
heard at CSI steelband’s practice
sessions. With a little help, he was
playing half the band’s repertoire
in a relatively short time span. Initially, Jaden was too shy to play
for anyone and would only play in
the sanctuary of his home. He
would attend practice sessions
at the panyard solely for the purposes of listening and learning.
When people enquired about his
playing skills and were told that
he was capable of playing complete tunes on the steelpan, they
looked skeptical, stating, ‘he is
only 4 years old’, ‘he is so small
to be playing’, ‘you are having us
on’. Faced with this dilemma; his
parents decided to video record
him in action playing a few of his
favourite tunes as well as Jaden
having a good go at parts of their
CSI Steelband Trust’s 2009 Panorama tune, ‘Magic Drum’. They
uploaded the videos clips of him
playing which had lots of people
quite shocked. Since then, Brent
and Crystal have started receiving requests from Jaden’s fans for
songs. One thing is for sure; his
hearing impairment has not stopped
him in anyway doing what he wants
musically. On occasions both Brent
and Crystal have tried to trick him by
teaching him a wrong note or chord
of a tune he knows, but he is always
quick to point out their errors. For his entire life Jaden has been
surrounded by music. From both his
parents as well as his sibling, Brent
Junior who is commonly referred to
as ‘Brenty’. Brenty has also played
from a very young age and has performed for CSI Steelband Trust’s
Junior orchestra in the BAS/CAPCA
Junior Panorama Finals.
Visit the links on Brent’s Face
Book page and You Tube to view
young Jaden Holder’s unique and
mystical playing skills.
21
when steel talks special features
Carl Chase
special features
The Man Behind Steelpan in Maine
The coalition is made up primarily of Flash!
in The Pans, Chase’s own group, and several other bands from the Blue Hill, Maine
area.
2010 Montreal International Steelpan Festival
Montreal, Quebec, Canada
This year, the group is performing musician and composer Miguel Reyes’ 2010
panorama selection “Flash” as their tune of choice in
the adult competition, and Carl Chase’s very own “One
for Charlie” for the panorama song. The players listen to
his every word attentively; as we watch Mr. Chase direct
his musical troops during the pre-panorama warm-ups
and practice sessions - it is abundantly obvious that
Mr. Chase is a ‘throw back’ to an era of great steelband
leaders.
Carl Chase is quiet, reserved, unassuming and
soft-spoken yet his passion for the steelpan and its music burns white hot. Meet Carl Chase, the man singularly responsible for the introduction and proliferation of
the steelpan and steelbands in the state of Maine, USA.
At the 10th annual Montreal International Steelpan Festival, When Steel Talks got a chance to talk to and observe, Mr. Chase in action. Under his leadership, the
amalgamation “Pan Coalition,” is an annual participant
in this international Canadian steelpan music festival. These select leaders were special in that they not only
inspired their members through competitions by any
means necessary, but they brought a special skill set to
the table. They were tremendous leaders, arrangers and
tuners (triple threat) who commanded respect through
their abilities. In the age of specialization, people who
possess true ‘triple threat capabilities,’ are few and far
between.
Carl Chase told When Steel Talks that his steelpan saga
began some 50 plus years ago on a chance discovery
of a record by Brute Force Steelband of Antigua in the
1950’s. Carl says he was “fascinated with the sound.” He had in his own words “never heard anything like that
before.”
Later, while sailing in the Caribbean, Carl would encounter his first live steelband on the island of St. Thomas
in the Virgin Islands. Upon returning to his home in
Maine, Carl attempted to construct his own pans. The
quick realization that this task was far more daunting
than he had originally imagined set in. He sought out
professional help and in that regard, Carl then traveled
to Trinidad where he met and studied under famed
master tuner Roland Harrigin.
Carl is now an accomplished tuner in Maine, USA
where he manufactures instruments for a host of steelbands. In addition, as we said earlier, Carl Chase is
the man singularly responsible for the introduction and
popularization of the steelpan instrument along with the
steelband music genre in Blue Hill, Maine. The ‘pan
bug’ did not stop with Carl. His son Nigel is also an accomplished arranger, player and educator. As a result of his Pan Institute the steelpan can now be found in the Blue
Hill school system. Indeed, there is now, as Sue Walsh, executive director of the Blue Hill Chamber of Commerce
calls it a “pan craze” in Blue Hill Maine.
The 10th Annual Montreal International Steelpan Festival proved to be another great year for the Carl Chase-led Pan
Coalition from Maine. Although they did not capture the top prizes, their performances were at a high level and truly
appreciated by the audience.
Kefilwe ‘Sweets’ Morutimang
An Interview with this ‘Sweet’South African Pan Woman
Soweto Steelpan Woman Rising
Women and the Steelpan Art Form
Soweto, South Africa
Meet Kefilwe 'Sweets' Morutimang...
Musician, steelpan player and scholar
from Soweto, South Africa.
Kefilwe ‘Sweets’ Morutimang is a charismatic, bright and
multi-talented young lady who has bonded with the steelpan
music instrument. Moreover, the instrument has propelled her
forward and created opportunities. In this exclusive interview,
Kefilwe talks about the steelpan in Soweto, (SMYLe) the Soweto Marimba Youth League project and her remarkable journey.
WST - How did you first become introduced to the steelpan
instrument?
Kefilwe - It was through a friend called Dimakatso, she was a
dancer in the same organization that had a steelpan band.
WST - What pan do you play?
Kefilwe - I play tenors, and double tenors.
WST - What does your family think about your involvement in pan playing, and do any others play?
Kefilwe - To this day my mum only knows that I play music
but still can’t figure out these tins (pans) that have sound when
banged with sticks, I am the only one playing pans or doing
music.
continued on page 24
22
23
WST - Tell us about the Soweto Marimba Kidz Band.
Kefilwe - I started playing with Soweto Marimba Kids
for 4 years and I moved to The Soweto Marimba youth
League (SMYLe). The Soweto Marimba Youth League
(SMYLe) project is a musical outreach programme that
seeks to offer under-privileged children living in the
Dobsonville area of Soweto an opportunity to overcome adversity, work towards a common goal, and
to reach the pinnacle of the success they choose for
themselves.
The initial intention of the project was to create a music programme in an area where schools are either illequipped or technically unable to provide learners with
an opportunity to study music as part of their academic
growth. Even today, the SMYLe project is one of very
few music programmes for school learners in Dobsonville, with the SMYLe team representing 5 of the 7 area
high schools, of which only P.J. Simelane has a music
programme.
The hope has always been that the youth of Dobsonville
to avoid the daily hazards of drugs, crime and teenage
pregnancy, while acting as an assertive reminder that
‘Education is the Only Solution.’
WST - Are there many steelbands in South Africa?
Kefilwe - Yes there are bands that play pans but you
normally find that it’s a marimba band featuring steel
pans [playing] a few songs - unlike us; we are a steel
pan band we feature marimbas and other instruments.
WST - You’ve made a remarkable journey from Soweto
what role did the steelpan instrument play, if any, in you
entering University?
Kefilwe - We went on a tour from Soweto to Canada
in 2006 and I was in my matric year (last year of high
school). I worked hard in school but I had no means
to study further. While on our tour I had to study for
my mid-term exams so every day after a performance
I would study while everyone on tour had fun. A lady
called Joanne Jones in Canada from Mind Recreations
noticed. I went back home and after some few weeks
they wrote me a letter asking if they sponsored me to
study further would I like to, and I said yes “I would love
to go to University.” Steel pans have been my way of
life, I have learned that if you work hard and most importantly doing what you love and just loving and enjoying
music, you will reach you goals.
Beyond the music and great performances delivered
by Starlift Junior steel orchestra, is the remarkable story
behind the journey, including the financial challenges
and hurdles overcome - to make it all the way to Montreal, Canada. Every single business organization and
government official and Ministry approached in their
country, Trinidad & Tobago, had turned them down in
terms of assistance.
WST - And what University are you attending, and what
is your field of study?
Kefilwe - University of South Africa, I am doing third
year BCom Accounting with a dream of becoming a CA
one day.
WST - Are there many female pan players in
Johannesburg?
Kefilwe - Yes, there are, particularly in my band. We
have had our numbers increase from the original four
who started with me, to twelve females now playing
pans.
WST - And what is next for Kefilwe Morutimang?
Kefilwe - Playing more pan and teaching as many as
possible, and qualifying as a CA four years from now.
We just recorded 2 CDs, and we have a tour to Canada
in September this year.
Starlift Junior Steel Orchestra
captures the hearts and minds of Montréal at the
Montreal International Steelpan Festival
Montreal, Quebec, Canada
- With the
results of two competitions in hand, Starlift Junior
Steel Orchestra closed out the 10th Annual Montreal International Steelpan Festival (F.I.S.M. - Festival
International de Steelpan de Montréal) with a varied
repertoire that showcased even more, their musical
skill set and performance abilities.
The crowd was very pleased with their presentation
which included classic hits like Thriller (Michael Jackson), La La (Lord Nelson) and Mo Wuk (Patrice Roberts), among many others. As steelpan music rang out
through Place Émilie-Gamelin in downtown Montreal,
Starlift Juniors were high on their accomplishments, and proud of their representation of their homeland of Trinidad
and Tobago. Fresh from competing earlier in the afternoon both in the ‘Adult Panorama’ and placing second, while
copping top honors in the ‘Junior Panorama’ - the results were the same in both ‘tune categories.’ The band played
the identical songs in both groupings: for their “Tune of Choice” played in calypso tempo, Starlift Juniors chose
the Beatles’ classic Yesterday, while they went to “war” with Edwin Pouchet’s Battle Zone for their current Calypso
arranged “Panorama style.” Both tunes were arranged by Barry Mannette. The Montreal crowd on hand was obviously totally enamored with the group. They were lustily cheered on because of the quality of their performance.
24
Musical Director and arranger for the orchestra Barry
Mannette said that they essentially “received no help”
from the government of Trinidad and Tobago - the home
of pan and where the steelpan is the “national instrument.”
This truly had been a ‘solo act’ for months with supporters, friends and family, and fundraising activities
coming in to play, to ‘drum up’ the necessary funding to
make the trip from Trinidad to Montreal even possible.
“The whole experience was a monumental undertaking!” exclaimed Mannette to When Steel Talks. “But it
was all worth it. Look at them,” he said, pointing to the
youngsters, “look how happy they are!” And he was
also extremely pleased at the accomplishments of the
thirty young steelpan musicians ranging in ages ten
through eighteen years. Nine adults functioning in management and chaperone capacities accompanied the
group from Trinidad.
Their story began almost one year ago after Mannette
became aware of the Montreal International Steelpan
Festival through When Steel Talks’ coverage of the 2009
event on PanOnTheNet.com. He contacted the event
organizers and expressed the band’s desire to appear
at the 2010 show. By September 2009 the band had
in hand, their invitation letter from the organizers, upon
which the reality of “how on earth were we going to pull
this off” (funding for the trip) hit home!
What Starlift Juniors’ management and supporters
were able to achieve in the next few months could only
be described as ‘phenomenal.’ The valuable lessons
learned through this exercise allowed the music organization to call upon and develop extraordinary entrepreneurial skills, innovativeness and business savvy.
These will not soon be forgotten, if ever, and others may
want to look into their model for what turned out to be
a hard-won and successful venture. The management
of the band not only dealt with the fundraising for travel
and related appearance expenses; they also engaged
and arranged their flights, lodging, and ground travel in
Montreal. The young steelpan musicians moved like a
small army - very efficient - and could be seen emerging from the Metro (subway) for their show. Due to the
prohibitive costs of shipping steelpan basses up from
Trinidad, it had turned out to be a ‘godsend’ that hosts
Salah’s Steelpan Academy utilized the same configuration of bass instruments. The young bassists happily
‘jumped into the saddle’ and played on.
Event organizer Salah Wilson was very impressed
with Starlift Junior’s commitment, crediting their leaders
and the parents for their success. “Barry Mannette really took charge!” says Salah. Mrs. Wilson - wife of Salah
- and assistant director of Salah’s Steelpan Academy,
was also quite taken with Barry Mannette’s respect for
his young charges, and his rapport with them. This is
Starlift Junior Steel Orchestra’s first international tour;
and the experience gained and lessons learnt will have
an extraordinary impact on the shaping of the lives of
these young musicians for years to come.
The power of the pan was truly crystallized in this setting. It yet again showed that steel pan is far more than
simply an instrument. In addition to the fertile ground
to forge new friendships, the opportunities for travel to
places normally unreachable for these young people,
are priceless. Trinidad and Tobago should be extremely proud of Starlift Junior Steel Orchestra,
both in terms of their performance, and how they
conducted themselves - they were truly skilled and
gracious young ambassadors!
Contact Starlift Junior Steel Orchestra:
[email protected]
Contact festival organizer Salah Wilson:
[email protected]
To read these and many other exciting and interesting
articles from the team at When Steel Talks logon to:
www.panonthenet.com
25
Pan4u
STEELBAND
In front of the imposing backdrop of the
Alpstein Mountains with Mount Santis is
the region of Thurgau/St.Gallen - Lake
Constance in the foothills is the sweet
home of the steel band, Pan4u.
The ‘Happy End’ of North Switzerland, lies in
the heart of Europe, surrounded by three countries – Germany, Austria and Principality of
Liechtenstein - characterised by scenic beauty
and inhabited by original, hospitable people,
lays their jewel, the ‘Swabian Sea’ - Lake Constance, Europe’s third largest lake after Geneva and Balaton.
Over the centuries, it has been known by many
names; the Romans called it the ‚’Golden Bowl’
while the Alemannians named it the, ‚Swabian
Sea’. The area has a fascinating history and
today Lake Constance (German: Bodensee) is
shared by three countries. Germany has 174
km of the northern shoreline, Austria to the east
has 28 km, while the Swiss section to the south
has 72 km.
Paddle steamers are still in service on Europe’s most fascinating lake. As a result,
Pan4u enjoy entertaining people during
cruises with their unique sound. Other gigs
at various functions such as weddings, birthday parties, anniversaries, jubilees etc., all
add to their collection of many happy memories and valuable experiences in this charming
landscape. Pan4u was founded in 2002 by five
motivated women filled with great enthusiasm, their first basic repertoire was taught
at their new rehearsal room in Gossau,
in the rustic surroundings of St.Gallen,
by their teacher and arranger, Junior.
J. Edwards.
In 2004, after acquiring new players
and rehearsal rooms their repertoire
continued to grow. The band presently
consists of two tenors (Diana and Maria),
one single second (Monika), one double
guitar (Sandra), one six-bass (Janet) and
two players in the rhythm section, Fritz, percussion and Trinidadian, Darryl Belgrove, who
26
plays the drums, congas and percussion. Darryl is also
their drill master and leads their rehearsals. Maria lives
six months in a year in Tobago and is a big supporter of
the Katzenjammers steel band.
Monika also plays with the Thurpan band and Sandra
with her Italian roots gives them a nice groove. Janet is
originally from England and is also a member of a steel
band called, Another Phase. Fritz loves the Caribbean
rhythm whilst Diana is greatly influenced by her Trinidadian husband. Whether its rehearsals or gigs – they
always have fun together.
Junior Edwards and Darryl Belgrove are both born
and bred Trinidadians from the San Fernando area
in South Trinidad. Growing up in the Mecca of pan,
they both had the opportunity to learn and develop
their pan playing skills to become professional musicians. They have played for top Trinidadian bands,
Phase 11 Pan Groove, Skiffle Bunch and Fonclaire to
name a few. They are both resident in Switzerland and
perform with different ensembles. Having these skilled
pan players with Pan4u gives them even more pleasure
and incentive to play the instrument.
Their own knowledge of playing pan is increasing all the
time, especially during workshops with their arranger/tutor, Junior Edwards. Their repertoire includes Soca, Reggae, Swing, Pop, Soul etc as well as some old classics
such as Besame Mucho, Autumn leaves and masquerade to name a few.
The new experience of sharing their knowledge of the
steel pan with groups of various people was very inspiring. They were able to show and explain the history and
development of the instrument concluding with participants eagerly wanting to ‘have a go’.
Pan4u members have participated in nation-wide
projects like, SwissTrin, affording them the opportunity to play at EXPO 02 and the Swiss exhibition held
in the French part of Switzerland. They have also participated in other steel band festivals in Cudrefin which
lies in the western part of Switzerland and Männedorf
near Zürich.
Their involvement with the Caribbean Connection project saw them perform at notting hill carnival, in Berlin
during the Festival Der Kulturen and several other steel
band events. Their newest joint venture is with a group
from Zürich called, S.O.S steel band. Their aim is to play
together at Kulturinsel during a cultural event called
Folklorum in Einsiedel/Germany from the 3rd to the 5th
September 2010.
Being one of the very few steel bands in their area they
are proud to be introduced to the global pan community.For further information please visit their website www.
pan4u.com. Long live pan!
by Members of Pan4u
27
Dr. Chris Tanner
A Pan Profile from America's Heartland
By Andrew Martin and Ray Funk
Dr. Chris Tanner is Associate Professor of Music at Miami
University, located just a few miles north of Cincinnati, Ohio.
Tanner occupies a nearly unique position: he is one of only
two tenured professors in the United States whose primary
teaching responsibility is directing a steel band program, the
other being Northern Illinois University’s Liam Teague.
With hard work and determination Tanner founded the Miami
University Steel Band in 1994 while only a graduate student.
Since then, the program has developed into one of the strongest programs in the country. Through Tanner’s guidance the
ensemble has released four studio albums: Burnin (2001),
One More Soca (2003), Simple Pleasures (2006), and most recently Three Wishes (2009). The Miami University
Steel Band gives regular concerts on campus and has performed throughout Ohio and the United States. The
group has regularly featured renowned guest performers at their concerts, including Ray Holman, Liam Teague,
Andy and Jeff Narell, Tom Miller, Gary Gibson and many others. In addition to the four recordings released through
Pan Ramajay Productions, the band’s two appearances at the prestigious Percussive Arts Society International
Convention have provided national recognition.
A multifaceted artist, Tanner is also a talented composer and arranger for pan and his book The Steel Pan Game
Plan (2007) is a how-to resource for schools starting pan programs. Moreover, Tanner is sought after for workshops
and master classes throughout the States. He has served as a clinician and performing artist from Florida to Alaska,
and closer to home he consults with fledgling pan programs at secondary schools. He also served as a faculty
member at the Mannette Steel Drums summer workshops for several years.
In 1992 Mannette and WVU hosted a
steel pan summit that brought together some of the most famous players
of the day. Panists Andy Narell, Mat
Britain, Tom Miller and Ken Professor
Philmore enjoyed a short residency
including seminars, performances,
and educational talks.
One thing that struck Tanner was the
preference among these players for
the Invader-style lead pan, based on
Mannette’s original pattern and very
rarely seen these days. As Tanner
prepared to move on from WVU and
pursue graduate studies, Mannette
offered a kingly gift. “Ellie told me in
the spring term of 1993 that he wanted to build me a pan as a graduation
present. He asked me what kind of
pan I would like, and I chose the Invader lead, even though I had never
before played on one.”
Mannette delivered a Signature Series Invader lead pan to Tanner in
the fall of 1993, as he was beginning
his Master of Music coursework at
Miami University. He counts himself
fortunate to be in the small fraternity
of players who play and enjoy the
Invader-style pattern, with its darker
tone and quirky yet oddly comfortable layout.
As a graduate student Tanner attended to his studies while anticipating the arrival of a set of Mannette
instruments for Miami University.
Tanner’s teacher and now colleague
and mentor, percussion professor
Dr. William Albin, placed an order
with Mannette soon after recruiting
Tanner to the graduate program in
the summer of 1993. The set of five
instruments arrived in January 1994,
and the ten-member ensemble debuted to a wildly enthusiastic crowd
at the spring Percussion Ensemble
concert.
Since that beginning, the ensemble
has grown through the unwavering
support of Miami University’s student
body and administration, and Steel
Band concerts have become “mustsee” events for many on campus
and throughout the community.
The program has grown in a curricular sense as well: whereas the group
began under the auspices of the
percussion studio, the steel band
program now encompasses two
separate ensembles:- a beginner
“training” band and a performance
ensemble:- both of which are offered
for credit. The ensembles meet twice
weekly and rehearse similar to any
other large music ensemble at Miami
University.
Tanner finished his Masters degree
in 1996 and then joined the faculty
as a visiting instructor. In 2000 he
completed his doctoral work at WVU,
and he has since 2001 held the position of professor of music. Tanner
sees his role as a steel band educator on both a local and global scale.
For Tanner, steel band education
also reaches to the audience, and
he sees audience education and
cultivation as one of the major challenges faced by American steel
bands in the educational sphere.
“I want anyone who comes to my
concert to be entertained,” explains
Tanner. “That’s the main goal, actually…But I also want my audiences to
experience a good steel band: good
instruments, good music and good
performance. In this way, I hope to
provide a model for the steel band
art form.” Tanner, like many Trinidadians, wants to elevate the status of
steel pan.
His band performs many of the great
calypsos or pan tunes by Boogsie
Sharpe, Ray Holman and Lord Kitchener; however, they also perform an
exciting and challenging range of
new music for pan created by others
seriously committed to the advancement of pan such as Andy Narell,
Tom Miller, and even Tanner himself.
Ultimately, Tanner sees the steel
band as his medium for art, and he
strives to be true to his artistic convictions while at the same time celebrating and respecting the rich history and vibrant culture of pan.
Tanner first encountered steel pan as an undergraduate music major at West Virginia University in Morgantown,
West Virginia. He transferred to WVU in 1990 and was a student of the noted percussion teacher Dr. Phil Fiani. But it
was in 1992, when Ellie Mannette arrived as an artist-in-residence, that life changed for Tanner. “When I discovered
the pan, I just thought it was a beautiful instrument. I just fell in love with it. I got bitten by the jumbie, as they say.” In
addition to the beautiful sound of the instrument and the infectious groove of calypso, it was Mannette’s charismatic
presence that captivated the young student. “Having Ellie Mannette working in a room in the basement of the CAC
was nothing short of amazing. Here was a genius, a living legend, a major innovator in pan, right in our midst.”
Tanner was hooked. Afternoons spent observing and listening to Mannette had a significant influence on him, and
he soon realized that his career goals must include pan. In the WVU band, he learned to play the double second
pan, the circle-of-fifths lead pan and the triple guitar pan, and he also tried his hand at arranging. In Mannette’s
basement workshop he put a hammer to a pan a few times, but with limited success. While tuning would certainly
not be in his future, he nonetheless developed a basic understanding of the craft, and along with that a profound
appreciation for those, like Mannette, who are able to create these wonderful instruments.
28
29
by Jessel Murray
The Trinidad and Tobago National Steel Symphony Orchestra
'N.S.S.O.' conducted by Jessel Murray, was formed in late 2007 under
the auspices of The Ministry of Community Development, Culture
and Gender Affairs... now renamed The Ministry of Arts
and Multiculturalism.
It is comprised of thirty-three of the country’s finest steel pan players who were auditioned both
for the high quality of their technical skills and for their reading abilities. The National Steel Symphony Orchestra represents all steelband men and women across the twin island republic of Trinidad and Tobago. The musicians who came from different community steel bands were critically
accessed in their proficiency on the National instrument along with, deportment, literacy, and
technical skill to perform and adequately rehearse for 5 working days during the hours of 9.15 am
to 3.15 pm. The usage of sheet music allows the N.S.S.O. to read classical transcriptions and adaptations, original compositions written for the steelpan and world music, with particular interest
being regional and most importantly local on the newest family of steel pan.
The “G” pans “G” is defined as the Genesis pan and not, the lowest note on each of the instrument.
NSSO exclusively utilises the Genesis Pans which were developed at the University of the West Indies,
under Professor Brian Copeland, Dean of Engineering. Additionally, the ‘G’ pans were launched on July
14th 2007 at the UWI JFK Quadrangle with 15 members of the previous now defunct Trinidad and Tobago
National Steel Orchestra. Moreover, with the inclusion of the word “Symphony” some would argue this
word means the many different musical pitched and un-pitched instruments being used or a body of
music. However, in this particular instance “symphony” means a wider range and more fidelity in sound
(colours) related to the steel pans.
30
Furthermore, the oversized idea is not a new one as
some would believe. Nevertheless, the dynamic tonal
quality encompassing the four instruments: Tenor in 4th
and 5th from low A below middle C, Double Seconds
whole tone pattern from D below the existing F# or in
some cases E, triple cello in a 4th and 5th style from A
below the low Bb in some cases and also replacing the
diminished sequence, and the basses from the low G
just like what you would have on the 9 bass.
Such sounds they produced are referred to by many in
Trinidad as the new found richness never before available with the conventional instrument. By extension, the
melodic range and colours are immensely improved.
Special mention must be made on behalf of the persons upon whom credit is never bestowed, for example
one such person is Lawrence Junior Hutchinson for his
timeless efforts ensuring all the instruments coming from
the Engineering Department at UWI are properly done,
traveling long distances to obtain instruments from tuners and supervising the fabrication of new stands for
the Orchestra.
As the practitioners of the Art, members of N.S.S.O.
would have expressed that returning to the now old
pans seemed like toys. (Smaller and the tone not as
nice as the G pan). The adjustments on new approaches and technical application impacted on the determining factors as to how rehearsals are conducted. There
are chairs behind every instrument, because the pans
are still a work in progress as they perform on this new
instrument.
The two month old fetus at the time of the launch July
14th, has now passed three years and the National Steel
Symphony has had command performances in Trinidad
for Prince Charles and the Duchess of York during their
visit on March 5th 2008, at the UWI Quadrangle, the
opening of the Hyatt Regency Hotel, Port of Spain, and
the presentation of the entire N.S.S.O. at the Queen’s
Hall theatre on April 19th, 2008.
In collaboration with other cultural groups from Trinidad
and Tobago, the NSSO has performed at numerous
events.
31
Profile of the Orchestra Players
The NSSO is currently composed of 33 players: 23 male and 10 female. 13 persons have completed a Bachelor’s in
Music (or are no more than 2 courses short); 10 are current Bachelor’s in Music students; the other ten are graduates of
certificate programmes from COSTAAT or UWI, or have successfully auditioned to matriculate in a similar programme.
PERFORMANCES FROM AUGUST 2009 - MAY 2010 - MAJOR CONCERTS
Concert events have included performances at the 5th Summit of the Americas in April
2009 and the Commonwealth Heads of Government Conference (CHOGM) in
November, 2009 at the Hyatt Regional.
Two full concerts in May 2009 at UWI, St. Augustine and at Borough Day Festivities
in Point Fortin; and a joint concert with the National Sinfonia Orchestra at Queen’s in
August 2009, where they premiered two pieces for traditional symphonic
orchestra with the inclusion of steel instruments.
Subsequent events have included a high profile concert at Carifesta X in Guyana,
a performance at the Panorama Finals at Queen’s Park Savannah in 2010, and two
critically acclaimed concerts at the National Academy for the Performing Arts in May,
2010 as part of the concerts series: NAPA Fest.
32
Joint Performance with the National Sinfonia Orchestra, Queen’s Hall
August 2009
Opening of the History of Pan Exhibition, Port-of-Spain Museum
August 2009
Workshop and Performance, International School, Westmoorings
September 2009
Workshop and Performance, La Romaine Secondary, La Romaine
September 2009
Workshop and Performance, St. Joseph’s Convent, San Fernando
September 2009
Workshop and Performance, Naparima Girl’s, San Fernando
September 2009
Performance at All Star’s Panyard for Republic Day
September 2009
Workshop and Performance, Russell Latapy HS, Morvant
October 2009
Workshop and Performance, Arima North Secondary, Arima
October 2009
Workshop and Performance, Bishop’s/Trinity East, Trincity
October 2009
Full Concert at the People’s Space, Queen’s Park Savannah (CHOGM)
November 2009
Performance at CHOGM, Hyatt Regency
November 2009
Christmas Concert, PETROTRIN Sports Club, Fyzabad
December 2009
Christmas Concert, St. Barb’s Basketball Court, Laventille
December 2009
Closing of the History of Pan Exhibition, Port-of-Spain Museum
January 2010
Concert at Panoram Finals, Queen’s Park Savannah
February 2010
Concert at Toco Community Centre
February 2010
Concert at Diplomatic Centre, St. Ann’s
April 2010
‘Genesis in Steel’ Concert for NAPAFest at the National Academy for the Performing Arts
May 2010
The National Academy for the Performing Arts
August 2010
33
The
Caribbean
All Stars Steel Band
The Caribbean All Stars Steel Band was formed in 2004 by Trinidadians Farai and Tafara Masaisai.
The band itself was formed while these two brothers were pursuing their law degrees in London. To date, the band
can be found performing throughout Europe, the UK and the Caribbean while these two sons of the soil are practicing
Attorneys-at-Law, in the UK and Trinidad & Tobago.
Farai is the band leader and first became involved with the steel pan instrument back in 1998, when he performed
and won the Trinidad and Tobago Junior Panorama competition in Port of Spain, Trinidad with the band WoodTrin,
It was a partnership between Woodbrook Secondary School and Trinity College Moka, the latter being where Farai
is a proud Alumnus. When Pan Podium enquired about Farai’s reason for getting involved with the steel band, he
confirmed, ‘Fondly I remember the main reason I joined the college’s steel band was to be able to socialise with the
girls from Woodbrook Secondary School as Trinity College was an all boys’ college.’
It was this encounter with Trinidad and Tobago’s national instrument in the 1998 Junior Panorama Competition that
sparked Farai’s love affair with the steel pan. In 2004, the two brothers arrived in the United Kingdom with the ambition of one day becoming respectable members of the Honourable Law Society of England & Wales. With not much
money in their pockets but a love for music and a unique and rare talent to play any type of steel pan, the two brothers
began busking in London’s West End. Farai said, ‘We would go to class from 9am-3pm and then from 5pm–7pm we
would go busking that’s how we spent most of our days. We saved the money which was then used to help pay our
University fees.’
to represent Trinidad & Tobago in the most positive
way through music. The music they play is rooted in
traditional Calypso, reggae, jazz and rhythms which
transform any atmosphere into an island in the sun
climate
He confessed, ‘steel pan music touches your soul,
when I see the appreciation and smiles on my clients’
faces upon hearing us play; it makes me happy that I
am able to share with them what we in Trinidad have
at our door steps, Paradise’.
In 2008, The Caribbean All Stars Steel Band launched
their website www.mysteelband.com. It allowed them
to break into different European markets and perform
for audiences as far as Finland. Launching their website was their way of coping with the global recession
and continue to be effective.
One of their most fascinating performances was
for the Launch of the Nintendo Wii game, ‘Sports
Resort’ in 2009; they helped set the scene for
numerous Nintendo franchise owners throughout
Europe. They travelled a lot for these performances
and gained invaluable experience. The Caribbean
All Stars steel band is affiliated to numerous charities,
the main ones being the Diorama Arts Charity based
in Euston, London and the All Saints Anglican Church
based in Port of Spain, Trinidad.
Their membership include Farai who is a practicing attorney-at-law specialising in the field of sports law. His
favourite steel pan is the tenor pan and has performed
at both the Trinidad and Nothing Hill Carnival Panorama
competitions. Tafara is also a practicing attorney specialising in civil litigation and plays the bass pans.
Thandiwe is presently completing her final year of her
law degree. She plays both the bass and the lead tenor
pan. She is an astute musician having studied music for
four years. John Thomas has been performing throughout Europe and especially the UK for the past 40 years.
John not only performs but also teaches in five primary
schools throughout London. Trishauna Scarlett joined
the band in 2005; she is a distinguished tax consultant
based in Tunbridge Wells and plays the bass pan as well
as an array of percussion instruments.
Farai found his first music agent while playing the steel pan outside the Ritz Hotel in London. His name was Steve
Allen and he together with Farai’s uncle, John Thomas, taught him the ins and outs of performing professionally in
the UK. The Caribbean All Stars Steel Band was formed with the objective of promoting Trinbago culture throughout
Europe, they see themselves as Ambassadors for the National Instrument and with every performance they strive
The Caribbean All Stars Steel Band
promotes the Trinidad & Tobago culture on a truly international scale.
They offer their sincere thanks to their platinum sponsor
June & Sons Property Services
for their invaluable assistance over the years, visit their website at
www.rentaltt.com
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35
N O T T I N G H I L L 3 2 N D PA N O R A M A 2 0 1 0 • H O R N I M A N ’ S P L E A S A N C E
Notting Hill
32ND Panorama
2010
Ebony coming to retain their
title of Champions of Steel
Panorama is a focal point for all Carnival celebrations globally where top steel bands
come together in a musical battle for supremacy. The UK’s juggernaut steel band, Ebony,
acclaimed to be Europe finest, have won the UK Panorama eighteen times, placed second
eight times and third twice giving a grand total of twenty eight (28) in a competition that is
only 32 years old. What a fantastic achievement and they are also the only steel band in
the world to achieve such high accolades in such a competition. They were also European
Champions in 2000 and 2002. A world icon of the art form!
The 2010 Panorama sees a return to Horniman’s Pleasance, Kensal Road from the iconic venue of
Hyde Park where the competition was held for the past three years with Ebony hoping to retain their
coveted title. Panorama takes place on Saturday 28th August and is the precursor to the Notting
Hill Carnival where over 500 pan musicians from all over the UK who have practiced for hundreds of
hours will be playing thousands of instruments performing a piece of music, improvised and arranged
to last for up to 10 minutes per band to capture the prestigious title of ‘Champions of Steel’.
Panorama is the biggest showcase for steel pan music in London. The judges will once again be
looking out for technical excellence, flair and showmanship. This year the UK’s top steel bands, each
comprising of between 40 and 75 musicians will meet in musical battle to be crowned the
‘Champions of Steel 2010’. Please ensure you are present to witness the
start of one of the greatest shows on earth.
If you can’t be present visit www.panpodium.com for a written review,
photographs and videos of the performance.
Location: Horniman’s Pleasance, Kensal Road off Ladbroke Grove, London W10.
Time: 5.00pm to 11.00pm. (FREE)
36
37
British Association of Steelbands'
Notting Hill Panorama Past Winners
Year
First Place
Second Place
Third Place
2009
Ebony Steel Band
Mangrove Steel Band
CSI Steel Band/Real Steel
2008
Ebony Steel Band
Real Steel Orchestra
Southside Harmonics Steel Orchestra
2007
Ebony Steel Band
Stardust Steel Orchestra
Mangrove Steel Band
Year
First Place
Second Place
Third Place
2006
Ebony Steel Band
Southside Harmonics
1989
Ebony Steel Band
Mangrove Steel Band
Metronomes ( Issac Newton School)
2005
Ebony Steel Band
Southside Harmonics
1989
London All Stars
Stardust
Bromyard Centre
1988
Ebony Steel Band
Mangrove Steel Band
Metronomes
2004
Mangrove Steel Band
Ebony Steel Band
Glissando Steel Band
2003
Mangrove Steel Band
Ebony Steel Band
1987
Phase 1
London All Stars
Stardust
1986
Mangrove Steel Band
Ebony Steel Band
Stardust
2002
Mangrove/North Stars
t
Real Steel
2001
Ebony Steel Band
Mangrove Steel Band
Metronomes
1985
London All Stars
Mangrove Steel Band
Ebony Steel Band
1984
Metronomes
Ebony Steel Band
Mangrove Steel Band
1983
Ebony Steel Band
Metronomes
Mangrove Steel Band
1982
Metronomes
Ebony Steel Band
London All Stars
1981
Mangrove/Metronomes
1980
London All Stars
Ebony Steel Band
Metronomes
1979
Metronomes
Paddington Youth
Ebony Steel Band
1978
Paddington Youth
Metronomes
2000
Year
38
Mangrove Steel Band
First Place
Ebony Steel Band
Second Place
London All Stars
Third Place
1999
Ebony Steel Band
Mangrove Steel Band
1998
Ebony Steel Band
Southside
Eclipse
1997
Ebony Steel Band
Eclipse
1996
Ebony Steel Band
Eclipse
Mangrove Steel Band
1995
Ebony Steel Band
Pantonic
Lambeth Youth
1994
Ebony Steel Band
Pantonic
Lambeth Youth
1993
Ebony Steel Band
Metronomes
Mangrove Steel Band
1992
Ebony Steel Band
Mangrove/Metronomes
Pantonic
1991
Ebony Steel Band
Mangrove Steel Band
London All Stars/North Stars
1990
Mangrove Steel Band
Ebony Steel Band
Metronomes
1989 was a unique and special year. There were two separate competitions held in 1989, by two organizations.
The London Brotherhood of Steel’s competition, Ebony Steel Band won the title, with the Pan Players Association’s
competition awarding the London All Stars with the title. Following this, the two organizations joined forces and
formed the British Association of Steelbands.
Location: Horniman’s Pleasance,
Kensal Road off Ladbroke Grove, London W10.
Time: 5.00pm to 11.00pm. (FREE)
39
OBJECTIVES continued
ACHIEVEMENTS TO DATE
•
To guide in the development of building infrastructure for sound-proof classrooms and
adequate storage areas to enable the curriculum to be effectively implemented during
school hours
•
Over one hundred and fifty schools have
been provided with a sixteen-piece steelband ensemble, while another thirty five
are expected to receive instruments in this
financial year (2009-2010).
•
To guide in the establishment of the standardisation of the steelpan instruments for
use in schools
•
•
To liaise with stakeholders and other interest groups who share the vision of the programme
Over two hundred and fifty primary and secondary teachers have been trained in utilizing the steelpan to implement the music
curricula of Trinidad and Tobago.
•
Specifications for standardised steelpan instruments for use in schools have been de-
HISTORY
During the period June to September 2000, a
joint committee of the Ministry of Education, Pan
Trinbago and the Pan in Schools Coordinating
Council met to consider a proposal for the
establishment of a “Pan in the Classroom” project.
Primary and Secondary School teachers were then
invited to a Consultation on “Pan in Schools” in
October 2000, where views were received and a
“Survey of Steelband Activities” was distributed.
After tabulation of the survey results and consideration
of the views expressed at the consultation, a report
was presented. This report was reviewed by the
Ministry of Education officials and representatives
of the Pan In Schools Coordinating Council, who
together formed a Committee that prepared and
submitted a Final Report to the Permanent Secretary
of the Ministry of Education.
After an internal review of the Report’s contents, the
view was that it presented significant justification
for a programme of the general nature proposed
in the report, with such a programme holding the
promise of important benefits for the Education
system, the Pan movement and the country as a
whole. In this regard, the Honourable Minister of
Education took a Note to Cabinet on the subject
and on June 13th 2002 Cabinet agreed to the
establishment of a National Programme for
“Pan in the Classroom”.
The Pan in the Classroom Project Unit officially
began work in 2003 and today is in its eighth
year of existence and is continuing to grow from
strength to strength. The following are some of the
principles that guide its operations:
40
GOALS
•
To implement the Ministry of Education’s music curricula in schools, utilizing the steelpan
as the primary instrument.
•
To facilitate all schools in Trinidad and Tobago in the acquisition of steelpan instruments
and other accessories on a phased basis.
OBJECTIVES
•
To establish a framework for supervision and
evaluation of the programme.
•
To develop a programme database to provide accurate and timely information to aid
programme planning, networking and execution
•
To develop common approaches for implementation through a continuous programme
of teacher training
•
To adapt the existing music curriculum as it
relates to the steelpan
•
To establish policies for:
o
o
the selection of schools to receive
instruments
veloped and distributed to tuners selected
to supply instruments for the programme.
•
the selection of pan tuners to provide instruments
Finalising arrangements for the National Junior Steelband Music Festival which should
be held in November 2010 in collaboration
with our stakeholders - Pan Trinbago and
the Pan In Schools Coordinating Council.
41
PAN IN THE CLASSROOM PROJECT UNIT COORDINATORS
Mr Victor N. Prescod
Mr Paul Massy
Ms Josephine Torrel-Taylor
Mr Victor McGill Mr Mark Hosten
Mr. Kevin Millien Mr Stephen Mohammed
Mr Gofrey Joseph
Ms Nubia Williams
Project Coordinator
Regional Coordinator, Caroni
Regional Coordinator, North Eastern
Regional Coordinator, P.O.S. & Environs
Regional Coordinator, St George East
Regional Coordinator, St Patrick
Regional Coordinator, South Eastern
Regional Coordinator, Tobago
Regional Coordinator, Victoria
MUSIC INSTRUCTORS
Peter Rory Aleong | Damyon Alexander | Ahva Alexis | Maria Antoine | Aquil Arrindell
Gerard Balfour | Carl Caton | Kenneth Clarke | Rachel Clarke | Ayoka Craigwell
Aneysha De Coteau | Curtis Edwards | Akini Gill | Koreece Graham | Richard Gittens
Alexis Hope | Curtis Jones | Malomo Joseph | Roland Joseph | Kendall Lewis | Kevin McLeod
Anna Noel | Kyle Noel | Petal Pereira | Natacia Ramsay | Preston Richardson
Akinola Sennon | Wayne Serrieaux | Noel Skair | Marissa Theodore Timothy
Sydney Thomas
PAN IN THE CLASSROOM PROJECT UNIT CLERICAL STAFF
Ayanna Best
Gillian Payne Project Secretary
Clerical Assistant
SUPPORT STAFF
Khadija Charles
Krista Martin
Nicolette Joseph
Administrative Assistant (OJT)
Clerical Assistant (OJT)
Clerical Assistant (OJT)
Pan in the Classroom National Programme
is the initiative of
PAN IN SCHOOLS
COORDINATING COUNCIL
The Ministry of Education
42
43
by
Kennet Chang On
Er-Hu, Yer Woo, Toon Kam and Mook Kam, all string
instruments, were blended with the sound of the steel
pan. Accompanying the band in a few of its renditions
were vocalists performing authentic Chinese songs.
At the end of the celebrations, the borrowed pans
were returned to their respective owners and there was
much sadness among the members of the band as they
thought that the band would have been disbanded.
However, Chinese Bicentennial Limited, whose mandate is to propagate Chinese arts and culture in Trinidad and Tobago, decided that the band must go on
and started a fund to purchase instruments. They also
sought financial assistance from several of the betterknown Chinese business places in their community,
some of whom came forward readily.
By May 2007, sufficient funds were raised to purchase
instruments, but by then about half of the original members had left the band for various reasons and they had
to start with a fresh group of recruits. The band, under
the leadership of its new captain, Susie Young, started
once again practicing feverishly for that year’s celebrations.
These all concluded successfully to the acclaim of
those who were in attendance. With a mandate to fill at
least 50% of its repertoire with songs of Chinese origin,
the CBSE plays Chinese folk songs fused with rhythms
of the Caribbean and South America, as well as soca,
classical and pop pieces. It is the sound of Chinese
In 2006,
200 years after
the first Chinese immigrants
landed on the shores of Trinidad, a series of events were
held to celebrate this historic
occasion. To enhance the
celebrations, an all-Chinese
steelband was formed in
March of that year and so the
Chinese Bicentennial Steel
Ensemble was born.
The band members are:
Tenors - Sonya Lee Kim, Carol Mayers,
Felicia Aleong
Double Seconds - Romero Edwards
Double Guitar - Marcus Jodhan
Triple Cello - Mary Angai
4-Cello - Lori Lee Lum
Tenor Bass - Thais Lee Kim
7-Bass - Nick Lee Lum
Drums - Susie Young
In early 2010, the band changed its name to Trinidad
and Tobago Chinese Steel Ensemble. To prepare for
its tour of Ireland, the band learned the following Irish
tunes, all spiced up with a uniquely Trini flavour:
Wild Rover, Black Velvet Band, Lord of the Dance
Phil the Fluter’s Ball and Molly Malone.
On Saturday May 8th, the TTCSE performed at Fiesta
Plaza, Movie Towne, just before they left for their tour
of Ireland. The band’s tour to Ireland was its first performance outside of Trinidad and Tobago and their
members fully enjoyed entertaining the people of the
Republic of Ireland.
On the evening of May 15, the band participated in the
Dublin Summerfest at St Stephens Green from 3:00 to
4:00 p.m. This was arranged through the kind courtesy
of Brian O’Farrell, the Consul to the Republic of Ireland
in Trinidad and Tobago.
On the evening of May 17, the band was hosted by
Fr Senan Murray, an Irish Dominican priest who spent
many years in Trinidad and Tobago. Just before returning to Ireland he was the scoutmaster of the First Trinidad Sea Scouts at St Mary’s College and then served
as parish priest at St Mary’s Parish, St James. A public
concert was held in Askeaton, Limerick, at the parish
church from 8:00 p.m.
The Management of Excellent Stores Silver Stars, PCS Starlift, and Harvard Harps Steel Orchestras were kind
enough to lend the band some of their surplus instruments, as the band had no instruments of its own. The band
comprises of youngsters from the age of nine (9) to teenagers and adults well over their fifties, from schoolchildren
to business owners. A handful of the members were experienced players but most were novices, many not having
played a musical instrument before.
However, the hard work and long hours of practice paid dividends when, in the short space of just under six (6)
months, the band was ready for its first public appearance. They successfully performed at a series of concerts in
Trinidad and Tobago, culminating in a banquet hosted by the President of T&T at his residence on Chinese Arrival
Day, October 12th, 2006. In the Bicentennial celebrations, traditional Chinese musical instruments such as the
44
music as it has never been played before, all uniquely
arranged by resident pan virtuoso Douglas ‘Dougie’
Redon.
The band is housed in comfortable, air-conditioned
premises at 34 McDonald Street, in Woodbrook,
Trinidad, where pan lessons, including lessons with
music theory, are conducted three times weekly.
No experience, musical or otherwise, is needed to
join the classes. The band is also available to play
at private functions and events and may be
contacted at 758-4099 (Noel).
45
Cindy James
A woman of many talents
Cindy James is not just a make-up artist who specialises in Carnival make-up. She is
a woman of many talents; she is an established
nail technician, a budding promoter, an emergent
pannist and a founding member of the UK Chocolate City Mas band to name a few.
Growing up with a close relationship to her Caribbean parentage, Cindy was constantly exposed to the
creativity that the Trinidadian culture had to offer. Her
love of the steel pan started with her father, Raymond
James, who invented the Tinophone, small tins tuned
to the chromatic scale, which he later used to perform
on Trinidadian national television winning the Scouting
for Talent competition in 1964.
'Music was never her first
passion but the creativity
of painting and using her
hands to create art was'
asked her about her first panorama experience, She
stated, ‘It was so amazing, I was very nervous, as
my father and family were in the audience watching my debut but when you are performing the
feeling you get is out of this world, I was so glad I
took part, and when my sticks hit that final note of
the tune, it was just mind blowing….I did it!’
Cindy’s creative flair has been awoken and her previous working knowledge as a make-up artist for large
companies such as Revlon, Lancôme and Chanel
has culminated in her offering her services to the UK
Carnival forum. A decision she does not regret, as
she will be doing make-up for Bachannal and Cocoyea Mas bands and is helping to promote the 2nd
year of the UK Chocolate City band at the 2010 Notting Hill Carnival. Cindy has also done make-up for
numerous weddings and parties.
She is growing from strength to strength and was
more than happy to show off her make-up skills
exclusively for Pan Podium.
To contact Cindy please check her website
www.cindy-james.co.uk
Raymond went on to form a band called the ‘Dew Drops’,
who played at various venues throughout Trinidad and Tobago and was the resident band on the national radio station. He decided to move to England and continue with his
music where he performed all over Europe and also started
a family. Cindy explains ‘I was born into music and my
creativity was always encouraged, Daddy taught me to
how to play the tenor pan when I was about ten years old
but I stopped soon after.’
She explained that music was never her first passion but the
creativity of painting and using her hands to create art was,
but she always maintained a healthy appreciation for music
and followed this passion; returning to the tenor pan under the
guidance of World Champion soloist and established musical arranger, Brent Holder, founder of the Caribbean Steel International
Orchestra, ‘I started as a beginner learning how to play the pan,
as a total novice, but after eight weeks through my hard work
and determination I was asked to consider playing panorama, I
couldn’t believe I was being considered.’
Cindy went on to perform with CSI Steelband Trust in the 2009 UK
National Panorama held in the iconic, Hyde Park. When Pan Podium
46
47
Milnthorpe
By Jon McHugh
Steel Band
None of this would have been possible without the enthusiasm and skill of their musical director, Andy Whitfield,
aka ‘Harry’, a former teacher at Milnthorpe Primary School and their band Leader. In 2008, they recorded a CD
which has proved very popular and includes many of their favourite tunes. This is usually available at all their
performances.
Milnthorpe Steel Band has been in existence since the latter months of 1998, following the purchase
of steel pan instruments for ‘half’ a steel band by Milnthorpe Primary School from a school band visiting from Manchester. The school band was introduced as a way of enhancing musical opportunities within the school and
increasing the public profile in the wider community. They are based in the South Lakes, Kendal in Cumbria,
England.
If you require any further information please take the time to visit their website www.milnthorpesteelband.co.uk
where you can find loads of background information, hear a selection of their music, as well as view some of their
photographs and a current booking list. The band can be contacted via their website or their booking manager
Andy Pinder - Tel: 01524 734770 • Email: [email protected]
As the band became more experienced they were successful in playing at local events such as the Mary Wakefield
Festival in Kendal and nationally in the festival of Music For Youth in London. The Community Steel Band was formed
at the same time as a way for interested individuals outside the school to take advantage of a previously unheard
opportunity of participating in a unique and exciting music making experience, playing and performing in a full
steel band. These members were parents of current and ex-pupils of the school, as well as people who had no ties
whatsoever with it. It gained the affectionate name of ‘Din on a Bin’. In September 2005, the bands amalgamated.
Most of their members have little or no musical experience when they join and in recruiting for the band they
always emphasise that experience is not essential but a sense of humour is!
The band practices every Tuesday night in the Creative Confectionery Company Warehouse on Mainline Industrial
Estate, Milnthorpe from 5.30 to 7.00pm (term time only). The session is open to everyone from the age of 8 years.
There is no upper age limit. Anyone is welcome to come and ‘have a go’. They gig to raise funds towards purchasing
new equipment and instruments, enabling more people to play. The band always has a very full and varied annual
performance programme, with weddings, carnivals and agricultural shows among their bookings. They also perform
at The Lakeland Rose Show, Kendal Torchlight Procession, various Carnivals and Levens Hall Chilli Fest which are
their regular repeat bookings.
48
49
and her steelband for the handicapped, Extrem Normal – Normal Extrem. She achieved
unimagined goals by gaining the attention of
many famous personalities and other orchestra’s to the steelpan instrument.
Swiss Steelband Association
Founded in 2004, PANCH - The Swiss Steelband Association’s goal was to ensure contact within the swiss pan movement
as well as internationally. Switzerland is a small country – but with
many pan players, hence it is important to them not to be isolated
but to have a continuous interchange with what is happening with
pan globally – as to planned activities, development of the instrument and its art form, education, information platforms and other
associations. Brigitte Fischer was elected as President in 2009 becoming the first woman to hold this post.
PANCH have incorporated an advisory cultural committee consisting of eight professional musicians – Tamla Batra, Junior Edwards,
Patrik Bernard, Walter Chiment, Gary Padmore, Claudio Pini, Esa
Tervala, and Yaira Yonne. Their management board consists of
Brigitte Fischer Reto Frank Martin Grah
Gabi Wigger
Fred Hürlimann
Pit Zünd President
Finances
International Relations
Events
Secretary
Editor of our Information bulletin
and Member Services
PANCH’s membership comprises of forty steel bands and seventy
individuals. To date, they are about one hundred and fifty steel
bands in Switzerland; however, a lot of them are not yet interested in becoming a member of any form of association. However,
PANCH continues to promote their aims and objectives to all Swiss
steel bands and any individuals interested in the steel pan culture
and its art form. This tireless determination and laborious drive
ensures that PANCH is continually increasing in membership and
recognition. Their annual membership fee is 30 Swiss francs for an
individual and 90 for bands, companies and organisations.
The objective of their association is the enhancement of the Swiss pan community by
means of activities such as launching big
band projects like PANCH 2000, compiling
a pan curriculum with various workshops, offering an e-mail information service to our
members (concerts, advertising, general pan
information) and providing a quarterly printed
newsletter. Brigitte’s personal goal is to find a
way to enhance cooperation among the many
individuals who champion the steel band
movement in Switzerland. The Board of the
association works as a team where everyone
has responsibilities. Besides the presidential
and representative tasks, Brigitte is also responsible for education/workshops and web
mastering.
Brigitte visited Trinidad and Tobago 2010 Carnival celebrations where she played with the
Phase 11 Pan Groove steel orchestra led by
the world renowned composer, arranger and
player, Len Boogsie Sharpe, When asked
about her experience she replied, ‘ I think I
could write a whole book. It was such an honour to play with one of the best bands in the
world! I am still delirious with joy about the
opportunity I got. My sincere thanks to all the
members of Phase II and Boogsie. I had so
many extraordinary experiences - meeting
and getting to know all the nice musicians in
the band, playing Boogsie’s great arrangement and seeing how it developed from verse
and chorus to a masterpiece – incredible!
I also got the opportunity to see a lot of this
beautiful country, too.’
We are looking forward to an active cooperaThe PANCH Award was initiated in 2005. PANCH gives this annual tion with and contribution to the worldwide pan
award to an individual who has rendered outstanding services to community.
the steel band music in Switzerland. In 2007 it was awarded to Pan
Pioneer, Sterling Betancourt, for his outstanding services not only to
steelband music in Switzerland, but in Europe as a whole. Claudio
Pini received the award in 2008 for his exceptional talent as an arranger/composer and his teaching abilities.
He has worked with steelbands all over Switzerland and performed
with Casablanca, Renegades, Phase II Pan Groove steel orchestras in Trinidad and Holiday for Pans and Panch 2000 in Switzerland. He is currently the resident arranger for Ferrum Helveticum.
Carola Bestgen received the 2009 award as ambassador of pan,
thanks to her commitment and dedication for the handicapped
50
by Pete Beadell
‘Swingers’ Jazz Club in Cape Town before travelling
on the ‘Bafana, Bafana’ team coach to Johannesburg,
to perform in the main pre-World Cup event, hosted by
South African football Captain - Aaron Mokoena.
Panjazz International is part of a UK based charity
specialising in music education and performance. It
comprises – Portchester Panyard, the South Africa
Panjazz Project and the Panjazz India Project.
PANJAZZ INTERNATIONAL
SOUTH AFRICA 2010
On the first of June 2010, six UK based musicians travelled to Cape Town, South Africa, having been invited
to represent Panjazz International in performing at “The
Captain’s Dinner” in Johannesburg by the Aaron Mokoena Foundation.
The UK musicians rehearsed for three days in Cape Town
along with twelve representatives from partner communities
in the Western Cape. Performing in Franschhoek, and at
52
Panjazz International provides a multi-faceted, intergenerational approach to music in the community,
adopting the best practices of Western and World
Music traditions. Our work is based on the premise
that music, like sport, affords a powerful model for
developing community cohesion on a local, national
and international basis, and may be used to empower
a growing number of underprivileged young people,
to effect lasting change in and between communities
across the globe.
Rehearsing at Portchester Community School in the
UK, a flagship UNICEF ‘Rights Respecting School’,
the charity has been working with partners in South
Africa, the UK and India since 2007 on a range of music projects. We currently employ both a singing and
percussion/steel pan tutor, together working with over 200
young people each week in Kolkata’s poorest areas. The
South Africa partners work with us on a range of singing
and steel pan projects, tutored by local musicians from the
townships.
The group presented a programme of music, including African songs, World Cup 2010 tunes, South African Jazz
standards and Bollywood repertoire, on behalf of the
many young people currently denied a voice in
societies across the globe. The ethos of Panjazz International is closely aligned to the UN Convention on the
Rights of the Child, and much of our vocal repertoire reflects the articles of the Convention.
Our musicians explore the World of Indian
ragas, Caribbean Calypso and South African Township Jazz, using a wide range of instruments including
Sarod, Cajon, Tabla, Caribbean Steel Pan and South
African Marimba a unique blend of indigenous instruments and styles. At the heart of the Panjazz model lies
improvisation. On this tour, we featured steel pan players from Portchester Pan yard – Laura Eade, Lindsay Jobling,
Brandon Draper and Charlotte Seall. Dan Sadler played drums and percussion and Ben Thomas from our jazz project joined us on tenor sax. The South African group included an eleven-year old trumpeter from Gugulethu, vocalists
from Gugulethu, Franschhoek and Dalabuhle, and marimba and steel pan players from Gugulethu, Kylemore and
Franschhoek.
The group rehearsed at our accommodation base – ‘Otter’s Bend’ in Franschhoek. On the last night in the Cape Town
area, we were invited to perform at ‘Swingers Jazz Club’, one of Cape Town’s major jazz venues. The group brought
the house down – an incredible occasion for both audience and performers. The following day, having had very little
53
sleep, we were picked up in Franschhoek by the ‘Bafana, Bafana’ team coach to make the long journey to
Johannesburg. This proved a memorable journey, marked by the appearance of hoards of local children and horns
from passing motorists along the way, all anxious to give their support to the South African World Cup football bid.
Panjazz International would like to thank Mercedes for sponsoring the journey between Cape Town and Johannesburg, John and Kate Welch for sponsoring the costs of our accommodation whilst in Johannesburg and Toussaint
Clarke for stepping in to tune our pans and getting them ready for this event. His support as always was much
appreciated.’
Monday 07 June 2010 – ‘The Captain’s Dinner’ – Johannesburg, South Africa Wow! Topping the bill at this event
was South African jazz legend Hugh Masakela. The venue was the Vodadome in Johannesburg, and the event attracted celebrities from across the World. Hosted by Aaron Mokoena, musicians from Panjazz International presented
a programme lasting an hour and a half. The group was extremely well received, and a lot of interest was shown in
the work of this unique project.
So what of the future? We have tutors visiting the Western Cape and India during August, and Panjazz International
has been invited to showcase in India in October. We will also be returning to South Africa for a major tour in 2011.
“This project can make a difference to the lives of all young people - a powerful model for change”
Duncan Hindle, Director General, Department of Education, South Africa.
Panjazz International
Building local, national and international communities through music.
For further information contact:
Sarah Beadell +44 (0) 1329 517860
www.panjazzinternational.org
54
In February 2010, I travelled to Trinidad and Tobago,
which is the Southern most twin island republic in the
Caribbean, along with 14 other of my steel band members. I have been playing steelpan for three and a half
years now, I started at school with steel pan arranger
Paul Dowie and became good enough to become part
of the Croydon Steel Orchestra, (CSO)
Each year CSO participate in a competition called Panorama. This is a steel pan competition in which the best
bands in the country compete for the title of National
Panorama Champions. For this we practice for about
4 to 5 hours daily throughout the summer holidays to
perfect the 10minute arrangement.
As you would expect, Panorama competitions are held
all over the world and of course being that Trinidad is
the home of the Steel Pan, Panorama there is the largest and most renowned competition of them all, with
musicians travelling from all over the globe to participate. This is why; to be given the chance to experience
this was such an amazing opportunity.
We arrived in Trinidad on Friday 29th January at 6pm
local time, and immediately felt the 27 Degree heat.
We were met at the airport by the manager of Invaders
Steel Orchestra, Michael Dingchong, Who made us feel
at ease with his friendly nature. He had arranged a Maxi
Taxi (a large minibus/small coach) as there were 14 of
us to be transported to the panyard.
There, we were introduced to the Captain of the band,
and a few other members who were all very friendly –
they found our English accents quite humorous as we
did theirs, Then, much to our surprise after an 11 hour
flight we had to start learning the tune!!!!!! At this point
we realised that this wasn’t going to be a chilled out
relaxed holiday.
Fortunately, we already knew the Musical Director,
Arddin Herbert because we had worked with him during our UK panorama of summer 2009, It was nice to
see a familiar face, It also meant that we already had
56
some familiarity of his style of arrangement – although
to be truthful, I wouldn’t say this helped much, being that
pan is so widely appreciated in Trinidad, the standards
are particularly high and the musicians we were playing
alongside were immensely talented. So you can imagine
it was a challenge for us! But this was only the
beginning!
On Monday, 3 days after we arrived, we began practicing
with Woodbrook School Steel Orchestra for Junior Panorama – a similar competition for under 21’s. Practice
for this began at midday and ended at 6pm, giving us a
couple of hours to explore the town, eat roti and lots of
ice cream, before heading back to the panyard for main
band practice. Our days were extremely long and tiring
but fun all the same and our hard work and commitment
paid off as we won 1st place in the Junior Panorama
competition.
Once Junior Panorama was over, we had more time to
relax by the pool and do a bit of souvenir shopping in the
mornings before heading off to the panyard. Something
we were very grateful for because as the finals for panorama drew closer, rehearsals were longer, often lasting
until 4am, and stress levels were high because you did
not want to be the one who got it wrong and be told you
were not good enough to play for the finals!!!
Nevertheless, with perseverance and the support from
Paul and each other, as well as encouragement from our
new found friends from Trinidad and America we made
the grade and were able to perform as part of Invaders
on final night.
'as the finals for
panorama drew closer,
rehearsals were longer,
often lasting until 4am,
and stress levels
were high'
Saturday 13th February, the day of finals eventually arrived, we were all eager to get on stage and perform the tune
we’d been working on day and night for the past 2 weeks. So after a few more hours of practice, some food and a
group prayer, we began pushing the racks of steel pans down the road to the Queens Park Savannah. This alone was
an amazing experience, traffic willingly came to a halt in order to allow all 120 of us to push our Steel pan racks down
a main road, it made me realise the level of respect locals have for their culture, the instrument and its players.
On arrival, we found our place in the line up of bands and started to practice……. AGAIN!!! The atmosphere at this
point was incredible, almost overwhelming. Queen’s Park Savannah was filled with hundreds of musicians, pan enthusiasts, fans, photographers and television crews all present to witness the performances on the national stage, not
to mention all those at home and overseas watching it live on television or via video stream on the internet.
We took to the stage and performed at 1.30am and for the ten minutes we played, my built up exhaustion due to the
late nights and concentration, a little bit of nerves and a lot of anxiety was overtaken by sheer excitement and an
adrenaline rush, This is what I understand Trinidadians describe as ‘The Pan Jumbie’, a spirit that comes alive within
you when you play steel pan, This ‘Jumbie’ kept me going for the entire night! After performing we waited anxiously
for the results and it was announced that we had placed 4th out of the ten bands in our category. I felt this was a huge
achievement as the level of musicianship was very high.
57
Once Panorama was over, we began to realise that our trip to Trinidad was nearly complete. Most people were ready
to go home and see their friends and families, whereas I on the other hand did not miss home at all and was not looking forward to returning to the cold weather – after having spent 3 weeks in 30 Degree temperature’s, besides, we still
had the Carnival days to look forward to, which take place the Monday and Tuesday after the Panorama finals competition. The Notting Hill Carnival which we have here in the UK, is based around the themes derived from
Carnival in Trinidad and Tobago.
However, Carnival is a national event attended by people from all over the world. Carnival day begins with what’s
called J’ouvert on the Monday morning. J’ouvert is a French term, combining jour ouvert which directly translates as
day opening – referring to morning. This is because the event begins at 4:00 am and ends around midday. Like the
rest of Carnival, this part of it can be described as a street celebration for soca and calypso music. The only difference
is that it’s morning time, and elaborate costumes are not worn during this aspect of Carnival Monday. Instead mud
and paint are used and everyone goes around covering themselves and I mean EVERYONE around them in mud or
paint! Out of all the people I was with, I was the only one who managed not to get any paint on me. Thinking back, I
do not know how I managed that as some people were covered head to toe in paint.
After J’ouvert, Carnival Monday afternoon and Carnival Tuesday are when the elaborate ‘pretty’ costumes and masks
come out and there are enormous processions through the streets of people dancing and showing off their carefully
designed costumes. It’s hard to believe they are all made by hand. When Carnival came to an end, we all knew it was
time to say our final goodbyes as we would be going home the next day! We were all very sad to be leaving our new
friends and still miss not seeing them every day, even now!
I can honestly say that playing pan in the country of its origin in front of all those thousands of people was one of the
best experiences I have ever had. For me, the trip could not have been any better because even when I was hungry
and tired during those long days and nights at the panyard – I was doing something I love and I had friends around
me, both old and new, who kept me smiling through the most stressful of times. Because of this, my first trip to
Trinidad in 2010 will be something I will never forget and Panorama an event I hope I can participate in for
many years to come!
58

panjazz international south africa 2010

Transcription

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