The Pan Challenge

Organizers of last Friday evening’s “Pan in D Street” must feel very encouraged at the positive response from pan lovers and the general public. It was part of an initiative to popularize the steelpan, just recently honoured by the designation of the General Assembly of the United Nations of August 11,

the very date of the local action on Bay Street in Kingstown, as World Steelpan Day.

It is not the first time that the public has been treated to pan concerts, but this one hopefully indicates a determination to take the pan beyond the annual Pan o Rama during Carnival and sporadic community outings. Clearly, the leadership of the local Steelband movement wants to move in a consistent direction to popularize the steelpan and encourage both the participation of more persons in playing pan as well as the greater appreciation and acceptance by the public.

These are noble aims which deserve the full support of the Vincentian people. The UN’s support for a World Steelpan Day, represents an acceptance by the global community of the special position of the steelpan in the musical and cultural arenas. The steelpan has the unique position of being the only musical instrument invented in the 21st century.

It came out of the bowels of resistance of our people to cultural suppression as part of the global thrust for complete domination of both body and mind by colonialism and slavery. It was the banning of the drums by colonial authorities in Trinidad, as in other slave societies in the Caribbean, that prompted the ex-slaves to find alternative instruments. In Trinidad, the ready availability of steel drums used in the oil industry lent itself to experiments and thus was the steelpan born. It is a pity that our Caribbean societies are still to appreciate this historic fact and to treat the steelpan with the respect which it deserves. Much of it relates to ignorance but there are other objective barriers.

These must be considered in our enthusiasm to popularize the steelpan. There is the overwhelming dominance of the western cultural influence, not only among young people but among older and even not so old folks, who even when they accept the steelpan, often see it only in designated terms and occasions. Yet the pan has demonstrated beyond doubt its unrivalled versatility and adaptability. There is no other musical instrument which has proven that it is as effective in a concert hall or church service as at Pan o Rama or a jump-up “In D street”.

It is ironic, but typical of the Caribbean that it took European classical musicians to help to propel the steelpan to international recognition of being as ideal for classical and religious music as for moving thousands at Pan Festivals and street parties. Starting from the sixties some of these classical musicians worked along with Trinidad steelbands in a series of classical Pan Festivals, playing Beethoven and Bach with as equal aplomb as they mastered the works of Kitchener, Sparrow and other local kaiso bards. The products of these initiatives can be counted as Wonders of the Musical World.

Make no bones about it, it will not be an easy task to accomplish the ambitious aims of the Youlou Pan Movement, and they must be acknowledged early lest disillusion set in when success does not come as readily as expected. When this happens, the next step is finger-pointing and blaming one another. I have already mentioned the competition in modern society. Take Carnival for instance, the modern availability of amplification has resulted in the giant boom boxes literally running the steelbands off the streets on Carnival Day. There can be no illusions about that.

But undoubtedly the biggest obstacle is the cost. The modern steelband finds it extremely difficult to exist without sponsorship. Even in Trinidad there is no doubt that in addition to proven skill, the support of sponsors is an essential element in the continued high-level success of bands like Trinidad All Stars, Renegades, Desperadoes etc. Even here our oldest band, Starlift, has been able to continue and develop with the financial support of a number of sponsors over the years.

With the limited size of our private sector, the reluctance of many local enterprises to fund cultural initiatives like that of the steelpan, it is going to be a herculean task to develop sizeable bands. As for school bands and community steel orchestras, where is the money to come from to fund what is today a very expensive undertaking?

I raise these not to place obstacles in the way, but for us to recognize, that whether at school or community level, creative ways must be found to attract the funding to make this possible. Thus, the UN, having recognized the steelpan, must find resources for support as it does in other areas. Our government’s capacities for significant funding are limited but they can do more, especially for schools. But above all, government can play a facilitative role in helping the Pan Movement to access funds and acting as a bridge to public sector funding. As for the private sector, particularly those in the tourism, hospitality and entertainment industries, sit down with the Youlou Pan Movement and they will be able to point to areas where you can help.

The entire society will benefit from such initiatives, Let’s try!

• Renwick Rose is a community activist and social commentator.