PANPOWER

Many Trinbagonians will tell you there is something about going down the road behind a steelband that is like no other experience in the world. Whether it is chipping in the cool dawn hours of J’ouvert morning, dancing in the streets under the midday sun or swaying at a slower pace as the sun goes down at ‘las lap’, you will be intoxicated by the infectious rhythm of the pan.

Amazement is the first reaction by firsttimers when they experience the music of a steel orchestra in full flight. And it truly is an experience, even for us who live in the home of the steelpan! That such sweet melody comes from a simple ‘pan’ is only part of the enigma. Visitors are also spellbound by the passion of the players, the way they ‘ramajay ’ (show off their skills) in obvious enjoyment of the music, the instrument’s rich tonal quality and the creativity of the musical arrangements.

Many Trinbagonians will tell you there is something about going down the road behind a steelband that is like no other experience in the world. Whether it is chipping in the cool dawn hours of J’ouvert morning, dancing in the streets under the midday sun or swaying at a slower pace as the sun goes down at ‘las lap’, you will be intoxicated by the infectious rhythm of the pan. It is akin to our cascadura - once tasted, you cannot forget its flavour

Steelpan music is an integral part of Trinidad and Tobago’s spectacular Carnival and an artistic expression that musicians and artisans lovingly create. Panyards are alive as players practise popular calypsoes (songs) or special compositions created by well-known local composers, in preparation for the national Panorama competition. In fact, visiting panyards is an established activity among locals, to support their band as they get ready for the competition or just to come together socially Visitors are always welcome and no Carnival itinerary is complete without a tour of the panyards. Of course, each steelband has its own following – die-hard supporters who are as passionate about the music as they are about the band and who will vow, regardless of the opinion of the judges, that their band is the best!

The Panorama competition brings out the best in pan tuners, arrangers, composers and players. Months of preparation and practice have one aim: to shine on the big Queen’s Park Savannah stage. A gruelling series of rounds determine the best performers. From the preliminary judging in the panyards to the semi-finals and then the much-anticipated finals, bands all over the country work overtime to captivate audiences with their musical mastery The Panorama competition has undergone many transitions over the years but judging is done now in three categories – small, medium and large bands, the latter having hundreds of players. Small or large, the energy and enthusiasm of performers are comparable.

The finals are staged on Carnival Saturday, beginning in the afternoon and ending in the early hours of the next morning. It’s a celebratory mood from start to finish (and even afterwards), for being in the finals is testimony that the band has performed with distinction. The eventual Panorama champion will be the toast of the cultural crowd for the next year but each finalist band will enjoy its own reign.

‘Finals’ night is an adrenaline rush, for players as well as spectators. It is here that the instrument is at its best. It is h ere, on this n ight, that so m any orchestras have played their way into fame, joining the league of champions since the competition was initiated in 1963. Today, Renegades, Desperadoes, All Stars, Exodus, Phase II Pan Groove, Invaders, Silver Stars, Starlift, Angel Harps, Skiffle Bunch and so many more are household names, arousing pride in every music-loving Trinbagonian. 2005 winner (Large Bands) Phase II Pa n Groove, led by Len “Boogsie” Sharpe and playing his composition ‘Trini Gone Wild’ will be remembered for an amazing performance that rocked the Savannah. The crowd really went wild as judges gave them an unprecedented 20 points ahead of runners-up and defending champion Exodus w hose performance of De Fosto’s ‘From Beyond’ also earned them the ‘People’s Choice’ prize. In the Medium Band category, Sforzata’s performance of ‘Dingolay ’ clinched the top place over Silver Stars rendition of ‘Frenzy ’ which also created quite a stir but it was Buccooneers of Tobago who got the nod as the ‘People’s Choice’.

At the ‘Big Yard’ (as the Queen’s Park Savannah venue is fondly referred to), you have an important choice to make –where to sit, or more likely stand, as the temptation to dance will be strong. The Grand Stand attracts those who come to listen to the music and of course, the judges are located on this side of the stage. In contrast, the North Stand opposite is for the movers and shakers (literally!) – the party crowd who hear a different beat and demonstrate a joie de vivre that is enjoyable to watch and therapeutic to experience. And if you prefer a close up look at the instruments and players or even want to help ‘push pan’ as the steelbands queue up, you can meet the bands at the entry point. No matter what vantage point you choose, Panorama ‘ finals’ is a glorious event to be part of Locals and visitors alike share in the energy, melodic sounds and camaraderie, for it does not matter where you are from – only that you enjoy the music and the moment!

While Panorama is the main steelband competition during Carnival, there are other events like the Single Pan (panround-de-neck) competition, Junior Panorama for schools’ steelbands, Bomb competition and of course, Champs in Concert one week after the main Carnival days when winners are showcased. Other events staged during the year include the popular annual Pan R amajay competition in May, th e biannual Schools’ Steelband Music continued on pag 32

Festival in October/November, Pan in the 21st Century, Pan Jazz Festival and the World Steelband Music Festival in which steel orchestras from various countries compete.

The steelpan has grown from humble beginnings to world acclaim as the only musical instrument created in the 20th century. Its versatility is well respected and steelpan music has been blended with other instruments like the tabla (drums), piano, sitar and saxophone. The same players who have you dancing with carefree abandon can soothe your senses with classical notes, comfortable with Bach and Beethoven as they are with Jit Samaroo and Len “Boogsie” Sharpe. Scintillating performances on the world stage have thrilled audiences and won over critics from USA to London and Ireland to India. Perhaps the most i mportan t performance of the steelband lies in its ability to unite people across ethnicities, genders and certainly across age groups.

The evolution of ‘pan’ is as interesting as revelry, using different lengths of bamboo to simulate the main voices of music – soprano, alto, tenor and bass, giving birth to the ‘tamboo -bamboo’ era. The transition to metal in the mid 1930s saw biscuit tins and other metal containers become musical instruments, and later discarded oil drums from the country ’s flourishing oil industry were transformed.

The move to steel was innovative and today the steelpan, the national instrument of Trinidad and Tobago, is as unique as the people who created it. The spontaneous abandon with which pan men and women play, particularly at Carnival, has its roots in suppressed energy and an appreciation of the instrument’s history will also explain the celebratory note of our indigenous music.

As the evolution continues, the steelband movement faces several challenges. Increasing music literacy among the country ’s multitude of players, the majority of whom learn music in foreign schools and universities as well as orchestras in faraway places like Finland and Japan surpass local counterparts in music literacy Several programs are addressing this gap, including the independently-run Music Literacy Trust, which was conceptualised by local ammonia producer Yara Trinidad Ltd. and set up in 2004 with initial funding from seven energy industry companies. The Trust awards scholarships annually to promising pannists for study at The University of the West Indies’ Centre for Creative and Festival Arts, in both the Degree and Certificate Music programs. Additionally, it financially supports music literacy foundation programs, particularly among young children, as a first step in building a cadre of music-literate citizens.

The learning process of imitation and memorisation that our pannists have been using for decades may arguably be unsurpassed by other musicians in the world; that capability is also admired by many At the same time, a thorough understanding of music and the ability to