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The Panman in Trinidad: Entertainer or Activist? by Debbie WilsonBLPR 101 5/10/99 Sweet, Sweet Pan! Carnival jump-up and Bacchanal – is Jouvert! Revelers, tourist and locals alike, gyrate their bodies with careless abandon – man and woman intoxicated with the beat. As far as the eye can see, the town is saturated with people who’ve come to be a part of "the greatest fete on earth". It’s easy to see the portrayal of pride and joy, happiness and unity amongst the multifaceted gathering. However is attention ever given to the systemic struggle, heartache and suffering that has been a bedfellow of the steelband movement from its inception? Contrary to the admiration and "much respect" pan men now receive at Carnival time, the early innovator's experience was not quite as rosy. Who were they and was entertaining the masses their master plan or simply a by-product of their struggle? The focus of this piece is to view the life of a pan man from a perspective other than the palatable version touted by the Trinidad Government and it’s Tourist Board. Independent since 1962, the Islands of Trinidad & Tobago were once colonized by Spain followed by Britain over a 450 year period, during which time a vast number of the inhabitants were being actively enslaved. Some were the product of the rampant and inhumane African Slave trade; others arrived somewhat voluntarily as indentured laborers from countries as far away as East India and China. It was a given that these people would make all efforts to preserve the practices of their culture such as the tradition of drumming brought over by the Africans to the New World which had always been an integral part of their religion. A wide spread belief among these "transplants" was that the beating of the drum acted as a vehicle to transport them to a higher spiritual plain in order to communicate with their God. In this way they hoped to become better able to survive the life of hardship, oppression and toil ahead of them on the plantation (Blake, 1995). But the white planter soon took steps to put an end to drumming, partly in fear of the enslaved transmitting coded messages from one plantation to another to activate revolts. An excuse widely used by the plantocracy to justify this ban was that the drum was much too noisy of an instrument. Over the years, all non-white culture began to be suppressed by any means the white ruling class deemed necessary. This was also in keeping with the European masters’ plan to strip the enslaved of their culture. Even after Emancipation the white and colored leaders held anything African in contempt – especially drum music. The missionaries were also encouraging Christianity and since they believed the Africans participated in a pagan religion, the church felt that by banning the drums the enslaved would become more receptive to their teachings (ibid.,). It became evident however, that even though the enslaved met with grave consequences, there was resistance every step of the way. That struggle was no different for the early pan men. In the late 19th century when the Government placed restraints on African drumming, there was much resistance that at numerous times led to bloodshed. Because "skin" drums could not be used freely, Africans sought to improvise and, as sometimes happens, suppression gave rise to innovation. First came an instrument called "Tamboo bamboo" – various shapes and sizes of hollowed out bamboo – which were played by striking against each other or against the ground to produce a uniquely pitched sound. The discovery, along with the consequent refinement of the steel drum, soon followed (Blake, 1995).] Beginning in the 1930’s, in the poorer and less privileged sections of Trinidad, the same segment from which Calypso emerged, was born the steeldrums - pan as they’re more commonly called today (Stuemple, 1995). The two were closely affiliated from the start and continued to do so throughout the years, all the way up to the present day. Because "skin" drums could not be used freely, Africans sought to improvise and, as sometimes happens, suppression gave rise to innovation. In that era it would have also been next to impossible for a person of such little income to obtain conventional musical equipment. First came an instrument called "Tamboo bamboo" – various shapes and sizes of hollowed out bamboo – which were played by striking against each other or against the ground to produce a uniquely pitched sound. Then, after much trial and error with various tin and metal objects, it was the discarded "Oil Drum" which became the standard material for, and gave birth to the steel drum, a new musical culture (Aho, 1997). Claims have even been made that this instrument is the only new musical instrument invented in the twentieth century (ibid.,). Pans’ innovators, young men of African heritage with little or no formal education or musical background, were the product of socially oppressed and economically disadvantaged communities that were on the borderline of mainstream society. They were mostly unemployed and generally thought of as a bad crowd therefore often labeled "hooligans" and "badjohns", a local term for a person, usually under classed, who was often in trouble with the law. It may come as a surprise to some to find that not all of the people in the poor sections approved of Steelband. Similar to the behavior of the "Uncle Toms" in the days of slavery, some had adopted the thinking of the ruling elite. In the earlier years their children were strictly prohibited from frequenting the Panyards – home and place of safekeeping for the pans - and mixing with the "rough crowds" (Keer, 1981). As a result of their social status, many of the guys there drank and gambled which tended to lead to physical fighting and further added to the stigma. Needless to say, these young men did not have much opportunity for success and recognition as others may have in areas such as education, jobs or careers. This being the case, they had to find other ways of channeling their energies and did so in whatever ways they found available to them. Steelband music was a way for them to find their niche or status and express themselves using their own distinctive culture. One such youth was a fellow by the name of Winston "Spree" Simon – a name that would later become a main figure in the history of Trinidad’s cultural. Trinidad’s great Orisha drummer Andrew Beddoe influenced him. Spree’s attention was also caught by the various sounds different tins produced and he would soon become famously known as the "father" of pan. Born in 1930, he grew up in an area by the name of "John John" where, in his words, "the depressed, frustrated, under-privileged and poor people sweat out their drab and dull existence…" (Blake, 1995). He had first hand knowledge of "…the toil without reward, the persecution, humiliation and dishonor that was the price for any one connected with the Steelband" (ibid.,). Spree’s first instrument was a one-note kettledrum made of discarded iron. After much experimentation, he found that he could "pound" varying sounds out of it. He soon identified distinct notes and the birth of pan, as we know it, was on its way. This pioneer went on to become a leader of the band "Destination Tokyo" and was also to gain wide acclaim as Tuner and arranger for this ingenious instrument (Stuemple, 1995). The Government’s agenda of tightly keeping a lid on the African race’s expression of their culture continued to be evident. Racial prejudice and discrimination prevailed. Around the time of the conception of pan in the 1930’s political and labor unrest was rampant in Trinidad. Inflation had gotten out of control. The unemployment and underemployment rate was high. Strikes and marches followed to culminate in a labor riot in 1937. Violence stirred up again around 1945. The accumulation of more and more steelbands, resulted in feuds and turf wars between rival bands (Keer, 1979). Many believed this to have been rooted in their surroundings. Poverty was rampant and despair made itself at home in the hearts and minds of many of these men. The reign of Police terror accelerated. On behalf of the ruling class, fierce police-steelband conflicts erupted, mostly relating to issues such as noise levels and the reveler's lack of permits to parade on the street (Stuemple, 1995). The general consensus of the under class however was that the police were simply carrying on with their practice of harassing the poorer class. It can be argued that this police behavior seems to have patterned itself after similarly oppressive treatment of the enslaved Africans on the plantation. Public concern over steelband didn’t become apparent until middle-class youth began to be targeted by law enforcement. Only then was it ever considered that the movement should undergo some type of reform. World renowned Calypsonian, The Mighty Sparrow, sang a calypso entitled "Outcast" about how the steelbandsmen were treated:
Yet another, the recently deceased Merchant, added to his repertoire: One of the biggest problems of the pan movement in the eyes of the public is and always has been the Panyard. In these communities there are no rehearsal halls for pan practice, so the typical location would be a vacant lot or "yard" with possibly a shady tree or two for "liming" under and a pit latrine (Stuemple, 1995). This became the home of the steelband and a place of safekeeping for the pans. Its noisy environment is unbearable at times, especially in the months before Carnival. To make the problem even worst, many pannists do not read music, so in order to familiarize themselves with an entire piece, it becomes necessary to play the same notes and phrases over and over, night after night. This, needless to say, has always been a big nuisance to residents in its immediate environs. A conjecture can be made that if the musicians of this art form weren’t based in these poor communities and primarily of African descent, the powers that be might have looked into the provision of sound insulation devices to alleviate some of the clamor and discomfort, a long time ago. In recent years smaller villages have extended the use of their now dormant community centers to local bands but larger more prestigious "pan-sides", as they’re usually referred to, have had no such luck. This has led to a serious set back of the panyard. Few bands occupy these sites merely as a result of the landowner’s good will. The majority are simply squatting, as the Calypsonian/social commentator Merchant, made mention of:
Around 1946 the acceptance of steelbands grew when lighter-skinned and white young people started to get involved, much to the chagrin of their parents, relatives, teachers and even their friends. Respected members of society were also becoming outspoken advocates of the movement. Britain was granting independence to its colonies and local politicians were in need of support of the masses (Blake, 1995). Therefore it would not have been a wise decision to reject a form of cultural expression that meant so much to their identity. A warmer reception was being extended also due to the following:
Though pan originated under an oppressive colonial system in which everything African was looked down upon, it gradually became accepted and championed as an important local art form. Its significance has been tested in one manner or another since its birth. Upon further examination these battles and the social "dramas" that ensued, provides a glimpse at Trinidad’s social and cultural past. By the 1970’s in addition to pan instruction being taught in a number of recognized schools, women were also becoming band members. Today the majority of pannists continue to be of African descent, but the inclusion of women and individuals of other ethnic groups has become much more common place. Their fellow activist, the Calypsonian, has always respected Panmen. They have also been celebrated in literature as well as poetry as these excerpts from Sugar George, by Paul Keens-Douglas, demonstrates:
. . . . . . . . .
Panmen’s lives have so evolved that not only do poets but also the public at large celebrate "the great ones" upon their death. For example, when the leader of the Desperadoes steelband died in 1985, his funeral was rivaled only by that of the late and much loved Prime minister, Dr. Eric Williams. Country and community leaders alike attended and he was mourned as a national hero (Aho, 1997). One who followed in the footsteps of, and has much respect for Simon’s struggle, is Bertram "Butch" Kelman, a comrade hailing from the South who is now widely respected as the "master tuner" he is. He has been tuning pans for highly acclaimed bands and individuals, both domestically and abroad since 1969. Another modern day virtuoso who contributed throughout the 1980’s greatly to pan’s development, and still continues to do so, is bandleader, composer and arranger of the world renowned "Phase II Pan Groove", Len "Boogsie" Sharp (Blake, 1995). Overall, the people of Trinidad and Tobago are proud of their countries special contribution to the world stage. But although panmen and steelband music has been embraced more over the years, that does not mean the obstacles to development and acceptance has been overcome. An underlying and deeply rooted stigma still applies towards pan playing, especially as one’s sole profession, on the part of many Trinidadians. So hence the question, as calypsonian Cro-Cro so rightly put it: "Tell me where pan reach / where the hell pan reach?". The pannist is yet to be honored and his trade afforded the opportunity to truly flourish as an art form in the country of its birth. References Aho, W. R., (1999). Steelband music in Trinidad and Tobago: The creation of a people’s music. http://www.3.edgenet/wano/subndart.htm Blake, Dr. F. I. R., (1995). The Trinidad & Tobago steel pan: History & revolution. Cambridge: Cambridge University Press. Keens-Douglas, P. (1979). When moon shine. Port-of-Spain, Trinidad & Tobago: College press. Keer, D. F., (1981). Music of the pans. Information Bulletin Series F, 91, No.4., Port-of-Spain, Trinidad & Tobago: Trinidad & Tobago Tourist Board. Stuemple, S. (1995). The Steelband movement: The forging of a national art in Trinidad & Tobago. Pennsylvania: University of Pennsylvania press.
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