Steel Pan Music

The steel pan is a 20th Century invention, but it has deep roots embedded in Trinidad society centuries earlier. In the 1700’s, slaves were brought over to the French island colony, who over the years created carnival festivals from their cultural traditions. The music played at these festivals were dominated by percussion and heavy drumming. In 1834, under British rule, the slaves of Trinidad and Tobago were emancipated, and in return these Carnival celebrations became increasingly vibrant and rowdy. This ultimately prompted a ban on certain Carnival activities in the 1880’s. (BBC).

In response, tamboo-bamboo “stick bands” formed, which utilized bamboo sticks to strike each other and the ground like a drum. The sounds made by stick bands provided distinct rhythm to the music of Carnival. Born from a certain resistance, of fighting against British interference, stick bands were a source of cultural pride and a means to survive in an oppressive society. In 1934, the British banned tamboo-bamboo, claiming that stick bands were getting into too many “street fights” and hurting too many people. This ban extended to other forms of percussion and most hand drums as well. This attempted stifling of Trinidadian culture and even nationalism spawned the creation of the steel pan. (Seeger, 52)

The steel pan came about during WWII, due to experimentation by young Trinidadians. It was learned that dented metal made specifically pitched sounds when struck properly. People of the lower classes would salvage junk and scrap metal for garbage cans, oil drums and the like, indenting the metal in different ways to produce different “notes.” Learning through trial and error, over the course of many years, techniques for making actual music had been developed, and the steel pan evolved into a unique instrument with a one-of-a-kind sound. (Seeger, 52).

However, it wasn’t long before the British outlawed the instrument, punishing anyone associated with it. Officials claimed that bands were too violent and disruptive; while fistfights sometimes did erupt between rival bands, this wasn’t an accurate portrayal of the movement. They were mostly motivated by passion and their love of music. As a result, the elites heavily stigmatized the steel pan, and for many years was frowned upon by Trinidadian society (excluding the lower echelons). However, bands were still created and paraded “illegally” during times of celebration. Bands would compete in larger and larger competitions, and it was ultimately these competitions that elevated the steel band’s status. (King Interview)

According to Earl King, a long-time steel pan player from Trinidad, the British rulers and upper, power-holding classes in Trinidadian society were extremely threatened by the steel pan. It was an invention of the poor and underprivileged, those oppressed the most by British colonialism and class division. It’s creation was inspired by the British repression of Carnival, and is itself a product of resisting subjugation. When it was made illegal, people continued to play as an act of protest, refusing to let their culture and tradition to be stamped out by their British rulers. They played to challenge colonial authority, to express themselves as they wanted, and maintain their Trinidadian identity. For many, including King, the steel pan became a symbol of nationalism deeply connected to their roots and history of struggling against domination. The steel pan is also a source of great pride because it was the only new instrument invented in the 20th Century, and it came from the marginalized and voiceless. It was something that the lower classes forged themselves, a means to express themselves despite being cast down by society. With this came a strong sense of unity and shared identity. This identity is so strong that once Trinidad was granted independence from the UK, the steel pan became the country’s national instrument.

Steel bands, through various competitions and events, became increasingly prevalent in Trinidad, and soon became popular amongst Trinidadians of all class. By the 1950’s, they had made their way to the heart of the British Empire, where the Western world was first exposed to this new wave of music. As steel pans spread throughout the West and the rest of the Caribbean, it became a part not only of Trinidadian culture but that of the Caribbean itself. The different peoples and of the Caribbean embraced the steel pan, and used the instrument in their own regional festivals and music. However, Earl King notes that this development could have gone much farther. To him, they were only taking Trinidadian music and making slight changes; other nationalities hadn’t themselves created anything new from their own histories, their own styles with the instrument. This goes to show the complex relationship the steel pan has with the diaspora.

In the video below, Earl King discusses the early beginnings of the steel pan. To learn more about King and for a full interview, visit our “Presence in NYC Community” page.

Earl King from Kylie on Vimeo.

Panorama

People in the diasporas wanted a return of the traditional steel pan music.  This was partially experienced in the introduction of Panorama, a steel band competition featured in WIADCA’s 5-day Carnival event.  By having an event solely for steel bands, it brings greater attention to the instrument and the culture surrounding it.  Carnival’s Panorama creates niches for Caribbean people and those interested in the culture.  Migrants experience a connection to their roots as well as non-Caribbeans who are able to become involved with Caribbean culture.  In New York City’s 2013 Panorama Competition, NYU Steel Drum Ensemble were guest players.  Not only does this show the interest in the culture by a large group of non-Caribbeans but also the acceptance of Caribbean and non-Caribbean collaborations.  NYU Steel continues to bring more publicity to the genre of steel pan music after performing as the musical band for the New York Theatre Ballet’s production of Legends & Visionaries earlier this year in February 2016. ¹

Soca Music

Introduced in the 1970s, Soca music is an abbreviation for soul and calypso.  However, it is highly influenced by other cultures due to the amount of diversity in Trinidad and developed over time to include musical aspects besides only soul and calypso.  There are a mix of cultures that diffuse and create different forms and styles in soca music to represent the distinct sub-divisions of Caribbean people, such as Indo-Caribbean and Afro-Caribbean. ²  This can be seen in Caribbean diasporas as well in the sense that Caribbean culture and American culture influence each other in the field of music, which will be discussed later.

While some claim that soca is not lyrical, aspects of the party music can be seen as representative of cultural resistance.  It’s true that the genre consists of upbeat rhythms, heavy bass encouraging dancing and lyrics talking about partying, drinking, sex, etc… but there are underlying messages of freedom and escape.  A common idea in many soca songs is “letting go,” which can be seen as a want for freedom of expression and the freeing of the body.³.  This idea, coincides with the historical roots of Carnival and J’Ouvert in memorializing the abuse of slaves.  Some of these historically important aspects of J’Ouvert celebrations, for example powder and paint, are seen in music videos.  For a more detailed explanation of the imagery in the video below, see “Diasporic Festivals & Carnivals.”

Below is an example of soca single “Dutty” by Shal Marshall and Ravi B, released December 18, 2015⁴

Soca vs. Steel Pan in Brooklyn’s Carnival

The introduction of Carnival and J’Ouvert to New York City’s Caribbean diasporas played a significant part in expanding the influence of steel pan.  Originally, Carnival was held in Harlem starting in the 1920s.  After it’s termination due to violence in 1964, the West Indian American Day Carnival Association (WIADCA)  re-established Carnival in Eastern Parkway where it remains today.  A main characteristics of the celebration is lively music seen in Caribbean culture.  As a Trinidadian celebration, soca and steel pan music dominated the parade due to their origins in Trinidad.  While steel drums were traditionally used, the celebration in the Caribbean diaspora underwent a transition from steel pans to bass-heavy soca music played by DJs in the mid-1970s.⁵  The steel pan is an instrument that was created by the lower class of Trinidad, making it the dominant instrument used during Carnival.  In New York City, as musical equipment continued advancing, musicians opted for louder speakers which drowned out the sound of the steel bands. 

Earl King, featured in the first video, discusses how he wanted something in Brooklyn that preserved the same free-roaming procession of steel bands, which was not present in Panorama.  As a result, he founded J’Ouvert City International in order to organize J’Ouvert on Flatbush Avenue.  This allowed revelers to gather in Flatbush at 3 am Carnival morning to enjoy live music from steel bands.  The only rule established for J’Ouvert’s performances was that DJs were banned and it had to be strictly steel pan music only.  There were distinct differences in music featured in Brooklyn’s Carnival and J’Ouvert.  By the early-1990s, steel pan was almost non-existent in the Eastern Parkway Carnival parade, leading to the creation of J’Ouvert.  In protestation of the loud and overwhelming DJs, many boycotted the Eastern Parkway celebration and opted for J’Ouvert in Flatbush.⁶  To read more about Carnival and J’Ouvert in Brooklyn, see “Diasporic Festivals and Carnivals.”

Soca and Steel Pan in Pop Culture

The popularity of Carnival, J’Ouvert and Panorama led to the influences of steel drums to be seen in popular culture.  Examples include the renowned singer, Prince and The Revolution’s “New Position”⁷ from his  1986 album Parade.  Additionally, Spyro Gyra, an American Jazz group formed in New York also utilizes steel pan in one of their instrumental pieces.  From their 1979 album Morning Dance, an accompaniment of steel drums can be heard in Spyro Gyra’s “Morning Dance.”⁸  Not only has the traditional steel pan been incorporated into American music, but popular soca musicians have also been working in collaboration with many American pop stars.  Eight time Trinidad Carnival Road March winner, Machel Montano, has produced music alongside Pitbull, Ariana Grande, Busta Rhymes and many other recognizable names in American pop culture.  Bunji Garlin, another multiple time Carnival Road March winner, often discusses serious issues in his soca music and most recently worked on a song with Diplo and Jack Ü.

There are also options on Gig Masters to hire steel bands to play at special occasions.  One particular group, named Feelin IRIE, is based in New York City and provides steel pan entertainment within 500 miles of New York City.  Their biography reads:

Feelin IRIE means Feeling Good.. That’s what I’m about .. making you feel good at your next Party, or event whatever it is , wherever.. Feelin Irie is a One man to 3 man band. Beach Island music at its core.. right from the Islands of Jamaica, Trinidad & Tobago and even some Buffet for all you parrot heads. We play steeldrums or what we call PAN, along Hawaiian Ukelele, World Music instruments from: India, Africa , SE Asia,. Because its a Small World Afterall.
We play traditional genres of Caribbean music, Jazz & Latin too.. We keep our group small and intimate and more affordable in these tough economic times.. Live music can never die.. lets keep it alive.. help support Live music..Hire Feelin Irie for your next event.⁹

Steel Pan Sources:

“A Brief History of the Steel Pan.” BBC News. N.p., 24 July 2012. Web. 10 May 2016. <http://www.bbc.com/news/magazine-18903131>.

Seeger, Peter. “The Steel Drum: A New Folk Instrument.” The Journal of American Folklore 71 (1958): 52-57. Jstor. Web. 10 May 2016. <http://www.jstor.org/stable/537959>