Steelband Music in Trinidad and Tobago: Tracing the Journey of the Steel Drum Through Time - Term Paper Example

of institute Steelband Music in Trinidad and Tobago Tracing the journey of the Steel Drum through time [Pick the Contents The Definition of Music: 3 The Culture of Music: Drumming 3 The Origin and Evolution of the Steel Drum: an essential component of Caribbean Music 4 Musical History of Trinidad and Tobago: 5 The Steel Band Movement: 6 The Connection of the Steel Band with Sunday Carnival and Emancipation Day Celebration: 8 Changes in the Repertoire and in the Instruments 9 Recent Developments of Steel Bands: 10 Conclusion: 11 Works Cited 12 The Definition of Music: Music is defined as an artist’s expression of life’s experiences, his realisations, feelings related to people and events etc. through the usage of musical notes in voice and instruments. Music is a by-product of the social, economic and cultural state of a community. It is shaped by the people of the communities who are the practitioners and pioneers of the form of music. Music as a consequence of its intrinsic linkage with a period in history of a place, socio-economic status of its people, is categorised into different genres based on the race and class of people. It is a subjective, shared mental conduct by an aggregation that sometimes defines a community’s boundaries (Aho 1). It is a social phenomenon painting a picture of the society, its practices, beliefs, values, traditions and other minute details of its life style. Music of a particular region and era contains vital information about the thoughts and beliefs of its people. The Culture of Music: Drumming Drumming is considered an integral part of culture of Trinidad and Tobago. Located off the south eastern coast of North America close to the Bahamas in the Caribbean, Trinidad and Tobago’s musical history dates back to the years of its rule by the British and Spaniards. Music was used as a channel of self expression and a means of social and intellectual liberation. The history of Trinidad and Tobago has seen colonisation by the British and the Europeans. This is quite evident in the demographic mix of races, religions and communities of people. Music is deeply associated with caste, colour and race as at some point or the other people from different backgrounds have alternate ways of thinking and applying music. The country’s population consists of Christians (50%), Hindus (25%) and mixed races (Europeans, Whites etc.). Half of the population are Trinidadians, the rest are Afro-Trinidadians (African in origin) and the remaining are of mixed origin (Aho 20). The music world has seen extensive use of percussive elements in compositions from around the world. Amongst the genres of music that rely on heavy usage of percussion are Reggae, Hip Hop, Rap, Native Caribbean Folk Music and Latin American Music. The emphasis on rhythm and percussive elements in musical compositions and performances is a trademark of music from the Latin American, Caribbean and European regions. Trinidad and Tobago’s music history also has the roots of percussion dominance in music embedded in the culture and tradition. The Origin and Evolution of the Steel Drum: an essential component of Caribbean Music The steel drum has its origin in the economically backward areas of the capital city: Port of Spain. The steel drums that we know today had its origins in the capital city and were made by young men with basic education, hailing from underprivileged families. The selling of steel drums was there only source of major income bringing them livelihood and giving them a source of income. The steel drums were made in a low cost method from used cans, tar oil cans, tin sheets and open ended steel vessels. They were fitted with tuning pegs and came with wooden sticks for the purpose of striking. The earliest version of steel drum lacked the features that would allow it to be tuned or its tone modified in any way. It was a monotone and a rustic instrument sold by street sellers and hawkers (Aho 2). With time the instrument underwent several modifications and was refined to evolve into more sophisticated instruments with advanced features and capabilities. The possibility for it to be tuned to a particular pitch was added later on. The process of manufacturing a steel drum was standardised. Through constant experimentation steel drums started to be manufactured in different pitches by pounding in and out on the top surface of the drums. Drums of varying depths were created to produce different ranges and timbres. Gradually, through experimentation and refinement, pitches were added by pounding in and out on the top surface of the drums, and drums of varying depths were created to produce different ranges. Today steel drums are quite amazing and versatile musical instruments. Steel drums are now considered to be one of the most flexible and musically versatile instruments capable of fitting into any orchestra and finding its place in different genres of music. Steel drums ranged from small tenor pans to alto pans, bass steel drums, double tenor drums etc having distinct tonal quality, pitch and ranges. Each steel drum usually had its own characteristic frequency. The instrument was generally tuned by sheer musical sense. Craftsmen and musicians who could accurately tune steel drums were respected for their qualities, sought after and highly paid for their work. Later on steel drums were tuned with tuning forks and other electronic tuning devices. Musical History of Trinidad and Tobago: As discussed earlier, the musical history of the country was shaped by the multi ethnic, multi cultural and diverse society. Amidst all music instruments, the place of the steel drums during the colonial rule of the British was considered at the lowest. Its sound and musical appeals were considered to be primitive and associated with noise. There was partiality when it came to granting privileges to the people of the country to play music after a certain time at night, hosting and organising music and dance shows, celebrating festivals and having musical get-togethers in the evening. Racial discrimination prevailed during the rule of the British, where the coloured and black community needed special permission to have music or dance public performances after 8:00 pm. Slaves were completely banned from organising or involving themselves in performances. In certain regions curfew was also imposed on black people and anybody who was found on the streets carrying a stick was immediately arrested by the police. At a time when such extreme racial discrimination existed, there were frequent clashes between the native Trinidadians, East Indians and Afro-Trinidadians and the police. In a particular incident, 12 people were killed and over a hundred were injured when the emotional outbursts of the black and coloured community took an aggressive turn pressurised by the routine humiliation and social injustice of its rulers. Forced into a state of utter desperation, hopelessness and suppression the local community often ended up clashing with the police forces deployed by the colonists. Several laws were passed in the 1800s dictating the usage of steel drums. They were banned in 1792 in Jamaica and in 1798 in Tobago. The classes of people who engaged in drumming were looked down upon by the white and coloured leaders. They felt it to be a need to rid the country of what they considered barbaric customs. Drumming was an important part of the culture of the natives of Trinidad and Tobago. In certain communities it was a religious practice and was performed as a ritual in different ceremonies. It was also socially important to the people of the country. The Steel Band Movement: The steel band movement started as early as in the 1800s. Various factors played the role of initiating and propagating the steel band movement through generations and across cultures within the country. The steel drum was considered as an illegitimate instrument. The ruling government, political leaders and people from the elite/ upper class refused to give it a place amongst other western and European instruments and regarded it as a medium of spreading violence and revolt. Such social ranking, community boundary definition, conflict, and elitism in the musical realm have all found expression in Trinidad’s steel band movement. Drumming is such an essential part of the culture in Trinidad and Tobago that efforts to oppose it have met with violent protests and tumultuous mass upheaval. Between 1881 and 1891, there were several violent clashes between the police and the people over the use of drums in religious ceremonies and other social observances. It was an important part of the cultural practices and traditions of native Trinidadians; what is more, it was essential for them to be able to continue their way of life despite the rulings and legislations passed by the ruling government. There were violent sparks and tales of lives being claimed over the sensitive issue of cultural practices of the natives were heard on a regular basis. Incidents involving loss of lives and injuries to the count of hundreds were common (Aho 30). Original inhabitants and native residents of Trinidad and Tobago resented the move of the British colonists and the social injustice melted out to them. The clashes of Steel Bands were not with the forces of the colonists and oppressors alone but they also confronted with fellow bands belonging to a neighbouring locality. Steel bands fought over territory, girlfriends and over women of ill repute who were at the centre of each band and in terms of the bands identification. The steel drum and steel bands came under heavy criticism by the leadership and were denied of a respectable position along with the other musical instruments of its time. Because skin drums could not be used freely, other instruments were improvised for application as percussion elements. In the early 1900s, the “tamboo bamboo” (a bamboo drum) was developed from various sizes of bamboo trees. Bamboo sticks were hollowed out and carved to give it the shape and structure of drum and the same acoustic properties as that of a regular drum. These drums were struck against one another or to the ground to produce sounds of various frequencies and tone. The Connection of the Steel Band with Sunday Carnival and Emancipation Day Celebration: After the end of the World War II, the Steel Band Movement took shelter under the annual J’ouvay (Jour Ouvert/ J’ouvert), in other words known as the annual Sunday Carnival. The steel band settled into this tradition gradually. The Steel band found its place here not only for the heroic sprit and rebellion which was its central theme but also for the inspiration by the Orisha Chants and shouter hymns. It fell easily onto the Emancipation-Jouvay (Same day celebration of the Sunday Carnival, i.e., Jouvay and Emancipation) playing music tradition of Juju Warriors, contributing to Flourbag Sailor, Dirty Sailor, Bad Behaviour Sailor, Fancy Sailor and a wave of military inspired music (Lovelace 3). Towards the end of colonial rule in the mid XX century, the Emancipation-Jouvay movement and the characters in Jouvay expressing rebellion and violence were ignored. The social circumstance out of which they were created and their historical significance went unnoticed. It was at this time that the Steel Band sought attention through the raw rebellion and violence exhibited in their music and performance. The violence and aggression was not only restricted on stage and during celebrations but outside it as well. The culture of rebel, aggression and retorting prevailed even outside the periods of celebration and steel bands kept alive ongoing feuds (Lovelace 3). Changes in the Repertoire and in the Instruments As the repertoire of music gradually changed and evolved, growing out of the theme of rebellious movement, uprising and raw uncontrolled violence, it started getting attention and appreciation from the larger global music audience. The steel band and its compositions gradually became more refined and melodious and it was then that they were given global acclaim, introduced into the arena of internationally recognised genre of music. At the same time the steel bands started playing classical, semi-classical and more complex instrumental pieces (rather than just theme instrumentation and repetitive or cyclic music), started performing at local and foreign music festivals and competitions, in churches and cathedrals, at weddings ceremonies, and social gatherings. The steel bands across the globe and its form or music became more popular through the usage of more refined and sophisticated instruments. The steel drums used now are capable of being tuned, adjusted to a particular frequency, are portable, electronically amplified and also in some cases have the facility to be modified through sound processors. The Steel Band music scenario has changed with the involvement of more organiser and insightful arrangers who ensure the right people are involved in at the forefront of the musical movement. Money has also made its way into the music leading a change in the technology and set up used. After foraying into the genres of Hymns, Church music, Popular Music, Classical Music, steel drums gathered popular support and international acclaim. Initially there was stiff resistance and lack of belief from people belonging to upper sections of the society, but gradually over decades Steel Band Music has evolved out of Jouvay-Emancipation Day music to a more acceptable form of music into contemporary playing styles and genres. The sound of the present day Steel Drums is more refined, mellower in tone and utilises a wider range of frequencies as compared to the early days at its inception in the capital city of Port of Spain. It is said that the native Trinidadians wanted to learn the art of playing complex compositions on the steel drums. They showed keen interest in exploring old traditional steel drum compositions alongside more recent creations. It was not as if that they wanted to impress the contemporary music community or do it for someone, but rather the insatiable desire to stretch the capabilities of oneself and the take the sound of the instrument to a much higher level, out from the heretofore explored realms of music. From just playing Latin American music and calypsos, the steel drum paved its way through the different genres of music and finding its place in almost all genres of music. Starting from new age music played by the Safri Duo to the orchestral ensemble of the great Greek music composer and pianist Yannis Hrysomallis, to its acceptance into popular Jazz orchestra and in movies and performances around the globe, the story of the evolution of the Steel Drum and Steel Band has been quite fascinating and that of self discovery. Recent Developments of Steel Bands: The usage of steel bands has evolved considerable since its inception two centuries back in the early 1800 as a form of self expression by black communities and groups of people belonging to the economically backward and socially underprivileged classes. Steel bands used to move in clumsy batches of people with racks and stands often blocking roads and casing obstructions (Aho 28). This has been considerably reduced and bands are now being replaced with brass instruments. Brass bands are being preferred over steel bands due to their effectiveness in carnivals, annual masquerades, and festivals. Steel bands find popularity in most of the carnivals in during fall season in Brazil, Chile, Argentina, Uruguay, Paraguay, Mexico etc. The only disadvantage of the steel band is its unorganised structure and the clumsy movement on the roads. Their role in the annual carnival has also changed. Panorama, the steel band competition at carnival has caused bands to focus on playing tunes rather than on rhythm and percussion. These carnivals identify good steel bands and steel percussionists. Organisers responsible for bringing the steel bands and performers together and arranging the music get paid very well. Some organisers get paid up to 200,000 USD for sourcing steel bands and lining them up for shows at the Annual music Carnival. Musicians however get paid less compared to the arrangers and organisers (Aho 29). Conclusion: From the birth and inception of the steel drum in the heart of the country of Trinidad and Tobago during the era of colonial rule, it weathered several storms that threatened its extinction to come out alive and an integral component of the modern day orchestra. Resisting early and premature extinction in the late 1700s before Emancipation and end of the colonial torture by the then ruling British forces, the steel drum became synonymous with the uprising of the black community, their story of revolt. Journeying through the ages where it was used as symbol of resentment towards slavery it gradually overcame hurdles to finally get inducted into the world of music and be recognised and regarded as a musical instrument. From what is known to be a humble beginning in the capital city of Port of Spain it travelled through times, handed over from generation to generation finally evolving itself to a sweeter, mellower, versatile instrument which finds its place in numerous genres of music. Works Cited Aho, William R. “Steel Band Music in Trinidad and Tobago: The Creation of Steel Band Music.” University of Texas Press. 14 May 2012. Print. Lovelace, Earl. “The Emancipation-Jouvay Tradition and the Almost Loss of Pan.” 14 May 2012. Print. Read More