Social Value of Cultural Arts – Pt: 2

Maxwell Haywood 17.JULY.09

Last week, I attempted to place the cultural arts in a broad context of their social relevance. This week, I attempt to explore the social value of calypso.

Vincy Mas 2009 involved mainly four components: mas, steel pan, calypso and soca. In each of them, there were numerous powerful negative and positive messages. For sure, Carnival must be more than rum, gyrating, waving, and a stress releaser.{{more}} It is, therefore, hopeful to see that the calypso component has stood its ground and continues to remind us that there is more to life than jump and wave. In the words of D Man Age: “We got a country to build”. In this context, in 2009, the calypsonians again demonstrated their versatility in addressing a host of relevant critical themes. I will reflect on just a few of the many examples that caught my interest.

This year in calypso, we saw the unusual theme of the impact of information communication technology on society. It is a full reality that modern communication technology is encroaching more and more on societies in the Caribbean region. It is silently transforming Caribbean societies without a well-developed response from us. It was good to see a calypsonian stepping forward to use his artistic gift to share with the society his observation on this theme. Sulle’s “Hello” is a masterpiece. Now it is up to us to continue that analysis offered by Sulle, in which he shows the impact of cell phones on Vincentians. Sulle is trying to plead to us to be more alert to how we integrate modern technologies into the life of our society in SVG. Calypsonian Sulle has shared his views using his profession as an artiste. What about other professions? Could they share their observations with us on this emerging issue? What about those among us such as sociologists, psychologists, economists, anthropologists, historians, political scientists, doctors, etc?

Another theme, and this one has been under constant scrutiny in the Caribbean and the rest of the world, is the relationship between the individual leader and the society in which he or she operates. Political leaders automatically open themselves to constant criticism because of their position in society. So it was no surprise when some of the calypsonians delivered heavy blows figuratively to the Prime Minister.

However, in all this biting political commentary, if we pay close attention to the messages, there is a lot of light shining through the vessel of the calypsonian. In their songs, the calypsonians have highlighted standards of political behavior, and by doing this, they are fulfilling their roles as guardians of true democracy. But we have to be willing to listen to the essence of their messages. When we get past the politics, the messages are clear and directly relevant.

In my view, Patches’ song “Shame” is not only directed at the Prime Minister, but it is a message to all leaders, telling them to treasure the gift of leadership given to them by the people and of the need to always show their deepest respect to the people. He called on the people to not support wrong behaviors from their political leaders who are elected to unite and develop the nation. Vibrating Scakes also expounded on the theme of leadership and society in his song “This King”. He highlighted many standards that will make an excellent king (leader). If political leaders of the nation could refrain from engaging in actions that compromise their integrity, then SVG will be undoubtedly on its way to comprehensive prosperity. These messages of Patches and Scakes in 2009 will have relevance all through the years. They are timeless messages.

The theme of freedom of expression was on the minds of calypsonians. They are concerned about the pressure they experience as a result of their critical lyrics. At a time when we are about to reform our constitution, the calypsonians, in their own way, are expressing concerns about their human rights. Zion I is a good example of this issue. Zion I in his song “Sing Leh We Hear” tells us that no matter how he and others try to muzzle his mouth, the critical topics keep coming out; but he cannot make anyone victimize his job because he has family to support. With this in his mind, he, therefore, has to muzzle his mouth. Here again the calypsonian remains relevant to the times by challenging the status quo to fully respect the right of free expression.

Moreover, the calypsonians addressed our nation’s struggles to regain its history and to come home to its heritage. Joy C in her “Master Card” speaks to us about the strength in us to overcome harsh and life-threatening situations. It is a similar strength that has protected our people through the brutal history of the Trans-Atlantic Slave Trade, colonialism, and thecontinued subjugation of our society by domestic and external forces that do not have the nation’s interest at heart. Joining her in recognition of the values and heritage that make us resilient were Dennis Bowman, Rejector, D Man Age, Nzimbu, and Bosalt. The calypsonians reinforced the positive legacies or heritage that SVG possesses. They have played their role this year in helping us to internalize these positive legacies and values found in our heritage.

Evidently, calypsonians continue to rescue the soul of the nation’s premier national festival from sliding completely into a frenzy of jump and wave, gyrating and drunkenness. They also continue to help our society to “look at the man in the mirror”. This practice of critical reflection is as necessary to the society as the central nervous system is to the human body. Therein lies the social value of calypso as a cultural art form.