ADVANCING THE CALYPSO ART-FORM
Contributed by Native Sons Productions -
Jerry Dice Richardson & Leroy (Bro. Lee) Richardson
Calypso has to be the most popular musical art-form in the world. For it is abundantly clear that any uninitiated individual, whether in the media or on the streets, feels that he/she is qualified to critique calypso, however baseless the criticism.
It is most intriguing that our arm-chair pundits in the media and on the streets hardly have anything to say about soca, reggae, steel band music, cadence, jazz, hip-hop or R&B. Like calypso, these are musical art-forms too. However, every nit-wit Tom, Dick, Harry and Jane is an authority on Calypso or ‘Kaiso’.
Let us be brazen enough to presume though that these ‘analysts’ have the furtherance of calypso at heart; and, in so doing, they are outwardly expressing that inward commitment to the preservation and promotion of the calypso art-form. In that regard, I wish to urge, rather strongly, that the commentaries, criticisms and compliments made on calypso by our radio and television talk show hosts and commentators be based strictly on the Judging Criteria. For the expectation is that those commentaries are designed to be constructive and educational.
Our commentators need to put an end to such emotive and useless ‘assessments’ as ‘good lyrics’, ‘nice music’ and ‘great performance’.
If, therefore, any commentator wishes to comment with some credibility on the lyrical value of a calypso, for example, then he/she MUST focus on the extent to which the words that are sung, as well as the verses and the choruses formed by those words clearly support the theme of the calypso. That commentator must be in a position, also, to point to the use, if any, of double entendre, irony, pun, play on words, the use and quality of rhyme, the marriage between lyrics and melody and unusual/unique treatment of the theme or topic.
Similarly, any commentator who is desirous of advising or educating the public about the utility of music in the delivery of a calypso MUST be able to demonstrate in no uncertain terms that he/she clearly understands the following imperatives
Marriage between lyrics and melody, especially in terms of meter and phrasing
The melodious appeal of the verses, the chorus or choruses, and the band interlude
The melody and its capturing of the mood of the theme
The relationship between the arrangement and the mood of the theme and the extent to which said arrangement complements the rendition
The back-up vocals and the extent to which they enhance the arrangement
Another critical element of the delivery and portrayal of the calypso that a vast number of our ‘experts’ seem to gloss over is performance which ought not, for one moment, to be confused with or sacrificed for theatrics or gimmickry. We must emphasise that calypsos are sung. They are not poems. Calypsonians MUST, first and foremost, demonstrate that they have the ability and capacity to sing melodiously in key and at a comfortable range. Calypsonians must be able, therefore, to use their voices to effectively interpret and communicate the theme of the rendition. Our commentators have a duty to point out these things.
Further, and still on the issue of performance, our analysts need to assess and comment on the use of the following to effectively convey the theme: - (a) clarity of diction, (b) proper pronunciation, (c) body, hands and feet, (c) facial expression, (d)dress, (e) the stage, (f) the microphone, (g) the props, the stagehands, the dancers.
In essence then our writers and our calypsonians must be intimately and fully familiar with the every criterion contained in the Judging Criteria.
Equally, each of our judges must be in a position to clearly demonstrate clear comprehension of said Criteria. By extension, each judge has an obligation to juxtapose scores per criterion with lucid comments on the relationship between the rendition and each criterion.
Let us continue to have debates, discussions, seminars and workshops, during the off-season, on what are the ingredients of good calypso. Let’s have forums in which our calypsonians can look together at the 2008 Calypso Finals, for example, and critique one another’s performance in keeping with the criteria. In this manner, we will all be in a position to assist one another in continuously improving the Anguillian product, with its own home-grown uniqueness, thereby rendering it comparable with top class calypso coming from other parts of the world.
Tuesday, September 2, 2008
Tuesday, May 27, 2008
Judging Calypso
JUDGING CALYPSO: Tradition versus Definitions
Dorbrene O'Marde
I had the opportunity during July (2001) of judging calypso competitions in Anguilla and St. Lucia and therefore interacting with a number of judges from across the region. I also had the opportunity to listen to judges/experts dissect the semi-finals competition in Barbados, and of course I saw the complete competition in Antigua from quarter-finals though semis and then to finals
I am becoming worried that the more we try to be scientific about judging; the more we attempt to describe and define; the more we attempt to dissect and evaluate, the more we seem to be losing or not building an organic and creative relationship with what we are attempting to judge. To compound the issue a number of external imperatives have entered our judging criteria. Many are anathema to the traditions of the art form.
For example, the desire to present time-bound shows has led to an increasing de-emphasis on the visual aspects of calypso performance. The stage-shows and visual presentations only carry a maximum of five percent of the marks for the calypso performance in the Antigua competition, less in others. These presentations take time to set up and therefore they are discouraged.
It is now nearly possible to judge competitions from home on the radio or on the grounds with your backs turned. The emphasis is now heavily weighted to the non-visual—melody, musical arrangement, lyrics, singing ability and other sub-categories like diction and clarity. But we know that traditionally African music is ‘seen’, European music is ‘heard’. Therefore to orient our judging score sheets/systems away from the visual and toward the aural is defeating of our own traditions.
We continue to proclaim our approaches as ‘scientific’ even when we deal with intangibles like melody and musical arrangement. In reality, we become scientific merely because we say so and then we proceed to institutionalize some rather murky concepts.
In the Antigua competition this year, twenty percent of the marks are allocated to ‘originality’—ten percent to originality of lyrics and ten percent to the originality of melody. There is nothing scientific about this. The award for originality is clearly determined by the judge’s retention of lyrics and melodies from other calypsoes and therefore very dependent on the judge’s familiarity with the large body of calypso expression—both national and regional.
In addition, the ability to judge originality and other elements of the calypso will be influenced by the judge’s understanding of calypso tradition. Tradition helps us to understand what is expected, what is allowed in the calypso song form—it helps us to understand the core values and tendencies of the art form. Tradition does not tie us to the past in such a way as to stifle the possibility of change in the art form.
On the contrary, tradition is the guardian of all change. It is the strength of the tradition that dictates the growth and expansion of the music. It defines for us the rate and extent to which we can impose changes on the existing form. If we push the envelope of tradition too far, too fast it is possible that we fall outside accepted boundaries into either another tradition or into a ‘no-man’s land’. These are the dangers of ‘cross-over’ music. If it crosses over too far it can become what it is tending towards or it can fall between both traditions either becoming something new or nothing!
The best explanation I have seen likens tradition to a river—always flowing, always changing. There are therefore difficulties in dipping into the river at any particular point and suggesting that the quality of the water or the strength of the currents is and will always be representative of the whole river. No, our testing is only representative of the river at that point in time in that particular location.
So when we talk calypso we must understand that we are talking of a river of African music, bending, branching, merging but maintaining the core qualities of its heritage and history, and definitions of its social purpose and artistic integrity. That river at other locations in the diaspora includes gospel and rhythm and blues and jazz and the plethora of ‘musics’ (read ‘rhythms’) we have produced in this Caribbean. The calypso tributary has branched into soca and the less-popular ‘rapso’, each emphasizing various core values of the parent flow.
The impact of ‘definitions’ in popular music is towards maintenance of the status quo—towards establishing ’rules’ that kernel the art form in parameters acceptable to the dominant social class or into neat marketing categories. But no change happens in art unless we break rules and we do things we were told we could not do or that were never done before. Great artists generally become great by breaking rules, by exploring new avenues of expression outside the main stream.
This is as true for Peter Minshall as it is for Derek Walcott and Short Shirt and Vivi Richards. Traditions allow for these changes to take place but not necessarily without resistance. The soca form took nearly a decade before even the spelling of its name was standardized (so-ka, soka, sokah soul calypso, socah, soca). It was longer before it condensed to a single clearly defined rhythm like reggae or rock steady or ska. To this day, Richards’ success has not changed the cricket coaching manuals to encourage young batsmen to ‘hit across the line’.
The history of the art form is replete with many examples of the challenges to tradition. Sparrow’s ‘Slave’ and ‘Maria’ and ‘Mr. Walker’ presented major challenges to the calypso establishment—defenders of tradition. In Antigua it took some time for Short Shirt’s ‘Lamentation’ to be accepted. We were very unsure about Swallow's 'Man to Man'. But it was the acceptance of these particular aberrations (as they were considered at the time) that gave new energy to calypso generally. There can be no doubt that the liveliness of the soca beat has energized the traditional calypso.
And so our judges and judging systems must take these understandings on board. These are the intangibles, the non-scientific that influence our appreciation and evaluation of the art form. They do not appear anywhere on score sheets. But can they or should they?
The reality is that we do not have techniques for reducing these underpinings to numbers in a meaningful way and even if we did, we run the risk of obscuring the importance of these elements. For as long as we place a mark or a numerical value on these elusive concepts and historical developments, we reduce their importance. They are not the same as the compositional components of the music. This umbrella knowledge for example should not be placed along side marks for lyrics and music and rendition etc. The judging of composition and performance should take place in those historical and cultural parameters which we must therefore understand before we can judge.
It is on this basis I have difficulty with an award for ‘originality’. The calypsonian in competition should not gain marks for being original—on the contrary s/he should lose marks for not being original. It is a negative score. By tradition, all calypso in competition should be original.
It is this type of consideration which is leading me to a different approach to judging the art form, one that awards marks for the creativity in music and lyrical construction and performance values but also penalizes for affront to the traditions of originality, rhyme, masque and what I refer to as calypso singing — for I continue to maintain that there is a singing style and an approach to phrasing and accentuating that is peculiar to calypso. Calypso singers must find this style as jazz singers must find theirs and opera singers must find theirs.
The challenge to the design of new judging approaches is to allow for and award the ‘pushing of boundaries’ in areas such as music and lyrical composition but defending the traditions of commentary/social observations, originality, rhyme and phrasing.
Most of the judges and commentators I have interacted with across the region are very clear about the mechanics of calypso performance. Somehow—like through some sort of osmosis—we all have absorbed some common understanding of music and melody. But it is the interpretation of lyrics that continues to yield wide variations in evaluation. Too many judges—and not only the inexperienced—judge what is said and not how it is said. Too many substitute the emotional reactions of crowds for analytic interpretation. Crowds now determine if judging is ‘fair’ based on their agreement with the judging decision. But part of the paradox that judges face is that crowds look for and react to different things than judges should - or at least are requested to.
Up and down the region I interact with judges who are clear on their mechanical responsibilities in determining the winners of competitions. And without examining some of the dangers of competition, I think the time has come for judges and those who design evaluation systems to take more seriously the protection of calypso tradition while allowing changes to take place. Judges must realize that their decisions determine or illustrate what is 'best', what is the 'total package' other calypsonians should aspire to - in other words, judges play a major role in the determination of the shape and future of our music. It is a serious responsibility.
Dorbrene O'Marde
(Dorbrene O'Marde is a Caribbean cultural worker. He has judged national and regional competitions in Barbados and throughout the OECS. He edits and publishes an annual magazine 'Calypso Talk'. He also writes for a number of the leading artists in Antigua.)
Dorbrene O'Marde
I had the opportunity during July (2001) of judging calypso competitions in Anguilla and St. Lucia and therefore interacting with a number of judges from across the region. I also had the opportunity to listen to judges/experts dissect the semi-finals competition in Barbados, and of course I saw the complete competition in Antigua from quarter-finals though semis and then to finals
I am becoming worried that the more we try to be scientific about judging; the more we attempt to describe and define; the more we attempt to dissect and evaluate, the more we seem to be losing or not building an organic and creative relationship with what we are attempting to judge. To compound the issue a number of external imperatives have entered our judging criteria. Many are anathema to the traditions of the art form.
For example, the desire to present time-bound shows has led to an increasing de-emphasis on the visual aspects of calypso performance. The stage-shows and visual presentations only carry a maximum of five percent of the marks for the calypso performance in the Antigua competition, less in others. These presentations take time to set up and therefore they are discouraged.
It is now nearly possible to judge competitions from home on the radio or on the grounds with your backs turned. The emphasis is now heavily weighted to the non-visual—melody, musical arrangement, lyrics, singing ability and other sub-categories like diction and clarity. But we know that traditionally African music is ‘seen’, European music is ‘heard’. Therefore to orient our judging score sheets/systems away from the visual and toward the aural is defeating of our own traditions.
We continue to proclaim our approaches as ‘scientific’ even when we deal with intangibles like melody and musical arrangement. In reality, we become scientific merely because we say so and then we proceed to institutionalize some rather murky concepts.
In the Antigua competition this year, twenty percent of the marks are allocated to ‘originality’—ten percent to originality of lyrics and ten percent to the originality of melody. There is nothing scientific about this. The award for originality is clearly determined by the judge’s retention of lyrics and melodies from other calypsoes and therefore very dependent on the judge’s familiarity with the large body of calypso expression—both national and regional.
In addition, the ability to judge originality and other elements of the calypso will be influenced by the judge’s understanding of calypso tradition. Tradition helps us to understand what is expected, what is allowed in the calypso song form—it helps us to understand the core values and tendencies of the art form. Tradition does not tie us to the past in such a way as to stifle the possibility of change in the art form.
On the contrary, tradition is the guardian of all change. It is the strength of the tradition that dictates the growth and expansion of the music. It defines for us the rate and extent to which we can impose changes on the existing form. If we push the envelope of tradition too far, too fast it is possible that we fall outside accepted boundaries into either another tradition or into a ‘no-man’s land’. These are the dangers of ‘cross-over’ music. If it crosses over too far it can become what it is tending towards or it can fall between both traditions either becoming something new or nothing!
The best explanation I have seen likens tradition to a river—always flowing, always changing. There are therefore difficulties in dipping into the river at any particular point and suggesting that the quality of the water or the strength of the currents is and will always be representative of the whole river. No, our testing is only representative of the river at that point in time in that particular location.
So when we talk calypso we must understand that we are talking of a river of African music, bending, branching, merging but maintaining the core qualities of its heritage and history, and definitions of its social purpose and artistic integrity. That river at other locations in the diaspora includes gospel and rhythm and blues and jazz and the plethora of ‘musics’ (read ‘rhythms’) we have produced in this Caribbean. The calypso tributary has branched into soca and the less-popular ‘rapso’, each emphasizing various core values of the parent flow.
The impact of ‘definitions’ in popular music is towards maintenance of the status quo—towards establishing ’rules’ that kernel the art form in parameters acceptable to the dominant social class or into neat marketing categories. But no change happens in art unless we break rules and we do things we were told we could not do or that were never done before. Great artists generally become great by breaking rules, by exploring new avenues of expression outside the main stream.
This is as true for Peter Minshall as it is for Derek Walcott and Short Shirt and Vivi Richards. Traditions allow for these changes to take place but not necessarily without resistance. The soca form took nearly a decade before even the spelling of its name was standardized (so-ka, soka, sokah soul calypso, socah, soca). It was longer before it condensed to a single clearly defined rhythm like reggae or rock steady or ska. To this day, Richards’ success has not changed the cricket coaching manuals to encourage young batsmen to ‘hit across the line’.
The history of the art form is replete with many examples of the challenges to tradition. Sparrow’s ‘Slave’ and ‘Maria’ and ‘Mr. Walker’ presented major challenges to the calypso establishment—defenders of tradition. In Antigua it took some time for Short Shirt’s ‘Lamentation’ to be accepted. We were very unsure about Swallow's 'Man to Man'. But it was the acceptance of these particular aberrations (as they were considered at the time) that gave new energy to calypso generally. There can be no doubt that the liveliness of the soca beat has energized the traditional calypso.
And so our judges and judging systems must take these understandings on board. These are the intangibles, the non-scientific that influence our appreciation and evaluation of the art form. They do not appear anywhere on score sheets. But can they or should they?
The reality is that we do not have techniques for reducing these underpinings to numbers in a meaningful way and even if we did, we run the risk of obscuring the importance of these elements. For as long as we place a mark or a numerical value on these elusive concepts and historical developments, we reduce their importance. They are not the same as the compositional components of the music. This umbrella knowledge for example should not be placed along side marks for lyrics and music and rendition etc. The judging of composition and performance should take place in those historical and cultural parameters which we must therefore understand before we can judge.
It is on this basis I have difficulty with an award for ‘originality’. The calypsonian in competition should not gain marks for being original—on the contrary s/he should lose marks for not being original. It is a negative score. By tradition, all calypso in competition should be original.
It is this type of consideration which is leading me to a different approach to judging the art form, one that awards marks for the creativity in music and lyrical construction and performance values but also penalizes for affront to the traditions of originality, rhyme, masque and what I refer to as calypso singing — for I continue to maintain that there is a singing style and an approach to phrasing and accentuating that is peculiar to calypso. Calypso singers must find this style as jazz singers must find theirs and opera singers must find theirs.
The challenge to the design of new judging approaches is to allow for and award the ‘pushing of boundaries’ in areas such as music and lyrical composition but defending the traditions of commentary/social observations, originality, rhyme and phrasing.
Most of the judges and commentators I have interacted with across the region are very clear about the mechanics of calypso performance. Somehow—like through some sort of osmosis—we all have absorbed some common understanding of music and melody. But it is the interpretation of lyrics that continues to yield wide variations in evaluation. Too many judges—and not only the inexperienced—judge what is said and not how it is said. Too many substitute the emotional reactions of crowds for analytic interpretation. Crowds now determine if judging is ‘fair’ based on their agreement with the judging decision. But part of the paradox that judges face is that crowds look for and react to different things than judges should - or at least are requested to.
Up and down the region I interact with judges who are clear on their mechanical responsibilities in determining the winners of competitions. And without examining some of the dangers of competition, I think the time has come for judges and those who design evaluation systems to take more seriously the protection of calypso tradition while allowing changes to take place. Judges must realize that their decisions determine or illustrate what is 'best', what is the 'total package' other calypsonians should aspire to - in other words, judges play a major role in the determination of the shape and future of our music. It is a serious responsibility.
Dorbrene O'Marde
(Dorbrene O'Marde is a Caribbean cultural worker. He has judged national and regional competitions in Barbados and throughout the OECS. He edits and publishes an annual magazine 'Calypso Talk'. He also writes for a number of the leading artists in Antigua.)
Wednesday, May 7, 2008
Calypso in Anguilla
CALYPSO IN ANGUILLA THRU THE YEARS
Calypso is a music that’s virtually synonymous with the Caribbean Islands. With the rise of soca and other genres of music, there appeared to be a declined, but many artist including our local calypsonians have contributed to the rebirth.
But, far from breath-taking, its last, Calypso is vibrant and very much alive especially at Carnival time.
This synopsis would allow you to grasp with enthusiasm, the evolution and advancement of the Calypso artform on Anguilla over the years at the senior level.
Calypso as we know it provides the opportunity for the expression of thoughts or real life experiences on issues, or events happening around us. That expression is enhanced with Music, poetry and dance, allowing for the performance to take on a life on its own and at the same time providing that means for the audience to see, feel or react to the message in the song.
From 1974 to present, Anguilla has produced calypsonians of energy, dedication and commitment to the artform. Despite the disappearance from the stage of the vintage performers and past monarchs such as, Pulfaro, Slinger, Mr. .Leo, Mighty Rock, Corn-Flakes to name a few, there was the emergence of a new breed of young determined consistent performers and competitors, who adopted and embraced the artform and took it to a standard that can be compared to any other region.
At this juncture much commendation must be given to the Colonial City Club (CCC) who was responsible for nurturing and bringing to the forefront many of our calypso stalwarts. This institution formed in 1980, produced the likes of Splinter, Returner, Mighty Rock, Hotshot, Pontiques, De-man, and Ziggy to make mention of a few.
The objective of Colonial City Club was to push the local calypsonians talent forward in many ways, through showcasing of calypsonians moonlight excursion fund raisers and staging calypso competitions at The Christarama Festival, paved the way for recordings and afforded Dr. Splinter to represent Anguilla in the OECS Calypso competition in Dominica. He place 5th, which was considered highly commendable, and captured the crown in French St. Martin in an all St. .Martin/SXM/AXA Calypso Competition.
In the midst of the competitors, we have always seen saw what I termed as “Calypso Family Link”. Whereby, many brothers enter the arena and with vigor competed against each other in a cultural and friendly atmosphere.
The Calypso Family Links include the following;
The Hodge’s Link (Stoney Ground)
Pulfaro, Vanblues and Shermatt
The Hodge’s Link (East End)
Hotshot, Ziggy and Flash
The Bryan’s Link (Cauls Bottom)
Splinter, Returner, Thunder, Kemanda (young brother), Blazer (Paul Bryan) and cousin Repeater
The Lloyd’s Link (Blowing Point)
Springer, Gossip, Marshman
There was another short lived link in the Saunders Family that comprised of Lord Anything (Deceased) and his nephew Lord Bread and Butter, Dale? Lord Anything made an invaluable contribution to the art form locally during his short stint of life and was always a serious contender and his renditions and performance will forever remain with us. It was opined by many that he won the crown on at least one occasion. May his soul rest in Peace.
I must at this stage bring to the fore, the musicians who decorated the lyrics and arrangements of our calypsonians over the years. In the early years there were many bands that played their role, and two outstanding bands that comes to mind, are North Sound and Ultradytes. As bands rise and faded, The Musical Brothers took up the challenge to provide sweet rhythmic accompaniment for several years. This was done with the exclusion of wind instruments.
As time passed, the need arose to give the music a lift from the norm, and the emergence and assistance of Mitch Geisner and Dumpa Martin, came the Platinum Band to create the version of music using the brass section, which afforded calypsonians an option. Most calypsonians still not too keen on the change process, stayed within the Musical brothers Band camp by a huge majority.
Now it is evident that there is a two band system in place. The Calypso sub-committee of 1997 which comprised Leroy “Brother Lee” Richardson and myself was taking a serious look at developing a scenario with the two band system, and after several hitches at events and the input of other calypso enthusiast, brought around the controversial change to an ALL Star band from preliminary stage to the Finals.
This change was to effect the advancement of the art form overall and from what was becoming costly and ineffective.
Ineffective in many ways, reasons been, Calypsonians were competing on two different levels, which would posed a disadvantage to the calypsonians and eliminate the hitches on shows, whereby the bands will have to changeover, whilst using one sound system.
Like most things in life, there was much debate on the change, but many of the critics after reviewing and examination of the process had change of hearts. There was always a vision within the Calypso organizing committee and we saw advantages that would compliment the change. The introduction of Music Sheets, so our calypsonians can for the first time is able to compete locally and regionally in any competition.
I have heard many controversial debates regarding Calypso in Anguilla over they years. Many aspects include the Adjudication (“De Judges Thief”) but with the total advancement and change process the time had come for another change. A move to introduce elimination, due to the increase in registrants and the duration of the Semifinals show, A Quarter Finals was introduced despite the pessimistic remarks by many on June15th 2001. Again the evolution process was high and working. The quarterfinals brought in extra funds and it was successful.
Calypso on Anguilla had advanced greatly thru the years and this growth with the support of the calypsonians, I feel strongly commenced in 1997. Calypsonians were now moving towards higher performance and achievements. There was the gradual exodus from the Band house recordings on TDK cassettes to a more modern studio facility. Where their material are arranged, recorded and produced on Compact Disc. This afforded them the chance to received fair air play on radio, which has ultimately moved to the modern technology.
With the standard of the artform on the rise and need to further develop the artist, JeLeCour Production, a non profit cultural entity, which was formed out of the Calypso Sub-Committee, was now the producers of the Calypso events. The initiative was taken after looking at the development process, to solicit renowned personnel to facilitate calypso development workshops. These necessary workshops looked at areas of Composing, Overall performance on Stage, Judging Criteria and Selection process and Copyrights. It is known that most of the active performers are not engaged in their own compositions, the workshop somehow geared them in this direction and how to do this along the criteria guidelines.
I must inject at this time, that over the years I have noticed that there had not been a broad interest on behalf of the female calypsonians to enter into the Monarch Show. Despite the poor showing, Anguillians and others can recall the coronation of a female calypsonian (Lady Messenger) who defeated (Hotshot) the male incumbent in 2002. She went on to make calypso history that year in capturing the Female Monarch show and the Leeward Islands Calypso Monarch show. In 2006 Queen B another female contender took the title of Anguilla Calypso Monarch. She is a consistent contender.
I must write about the repeated Monarch of Anguilla over the years. It seems to be quite a feat for many and hope of all. There were two- peats, three-peat, four-peat and even five-peat.
Mr. Leo started the peating with his historic 3 peat 1976 – 1978. Splinter looked at the peat as a feat and did a 5 peat 1982 – 1986. Repeater joins the peats when he did it in 1989 and 1990. Splinter after some absence from the competition, came back and been a little older and facing more competition, he did a 2 peat in 1995 and 1996. Springer never did a peat despite his efforts; he always lost to the competition, including his brother Gossip in 1999... But Springer came back with in 2000 and bang them all on stage. Would you care to mention the outstanding performances and level of Calypsonians and their songs that took them to a different peat – the local Calypso Monarch and the Leeward Island Calypso Monarch held in AXA. I think it was three or four of them?
I would conclude by noting some personal views in regards to calypso future development on Anguilla.
The future of the Anguilla Calypso crop lies in the development of the younger or junior calypsonians. The talent of the youth continues to have and remain untapped. I think the time has come, when a different approach should be adapted to the Junior Calypsonians and the junior Calypso competition, where it can be changed into a national School Calypso Competition. Training of the young calypsonians should start in school and there should be a coordinated and unwavering effort to further horn the talents of those who have left school.
The desired result is that there could be a transition into the senior calypso realm that would guarantee major improvements in standards.
The creation of the Anguilla Calypso Association is to a large extent a great direct achievement in the development of Calypso on Anguilla. This landmark actually helps brings the organization and management of calypso. I hope that calypsonians would be able to transform this breakthrough into a positive position of strength.
Calypsonians, as much as calypso at times is seen as a hobby, a sport or just a time to render two songs on stage, it is indeed part of our culture and is therefore an artistic feature in the cultural development of our country. I strongly urge you to use the basic yardsticks of the Criteria to compose, render and perform your calypso. Only in this way will our Anguilla Calypso become and remain comparable to the quality product that comes out of the Mecca of Calypso – Trinidad and Tobago.
JD
Calypso is a music that’s virtually synonymous with the Caribbean Islands. With the rise of soca and other genres of music, there appeared to be a declined, but many artist including our local calypsonians have contributed to the rebirth.
But, far from breath-taking, its last, Calypso is vibrant and very much alive especially at Carnival time.
This synopsis would allow you to grasp with enthusiasm, the evolution and advancement of the Calypso artform on Anguilla over the years at the senior level.
Calypso as we know it provides the opportunity for the expression of thoughts or real life experiences on issues, or events happening around us. That expression is enhanced with Music, poetry and dance, allowing for the performance to take on a life on its own and at the same time providing that means for the audience to see, feel or react to the message in the song.
From 1974 to present, Anguilla has produced calypsonians of energy, dedication and commitment to the artform. Despite the disappearance from the stage of the vintage performers and past monarchs such as, Pulfaro, Slinger, Mr. .Leo, Mighty Rock, Corn-Flakes to name a few, there was the emergence of a new breed of young determined consistent performers and competitors, who adopted and embraced the artform and took it to a standard that can be compared to any other region.
At this juncture much commendation must be given to the Colonial City Club (CCC) who was responsible for nurturing and bringing to the forefront many of our calypso stalwarts. This institution formed in 1980, produced the likes of Splinter, Returner, Mighty Rock, Hotshot, Pontiques, De-man, and Ziggy to make mention of a few.
The objective of Colonial City Club was to push the local calypsonians talent forward in many ways, through showcasing of calypsonians moonlight excursion fund raisers and staging calypso competitions at The Christarama Festival, paved the way for recordings and afforded Dr. Splinter to represent Anguilla in the OECS Calypso competition in Dominica. He place 5th, which was considered highly commendable, and captured the crown in French St. Martin in an all St. .Martin/SXM/AXA Calypso Competition.
In the midst of the competitors, we have always seen saw what I termed as “Calypso Family Link”. Whereby, many brothers enter the arena and with vigor competed against each other in a cultural and friendly atmosphere.
The Calypso Family Links include the following;
The Hodge’s Link (Stoney Ground)
Pulfaro, Vanblues and Shermatt
The Hodge’s Link (East End)
Hotshot, Ziggy and Flash
The Bryan’s Link (Cauls Bottom)
Splinter, Returner, Thunder, Kemanda (young brother), Blazer (Paul Bryan) and cousin Repeater
The Lloyd’s Link (Blowing Point)
Springer, Gossip, Marshman
There was another short lived link in the Saunders Family that comprised of Lord Anything (Deceased) and his nephew Lord Bread and Butter, Dale? Lord Anything made an invaluable contribution to the art form locally during his short stint of life and was always a serious contender and his renditions and performance will forever remain with us. It was opined by many that he won the crown on at least one occasion. May his soul rest in Peace.
I must at this stage bring to the fore, the musicians who decorated the lyrics and arrangements of our calypsonians over the years. In the early years there were many bands that played their role, and two outstanding bands that comes to mind, are North Sound and Ultradytes. As bands rise and faded, The Musical Brothers took up the challenge to provide sweet rhythmic accompaniment for several years. This was done with the exclusion of wind instruments.
As time passed, the need arose to give the music a lift from the norm, and the emergence and assistance of Mitch Geisner and Dumpa Martin, came the Platinum Band to create the version of music using the brass section, which afforded calypsonians an option. Most calypsonians still not too keen on the change process, stayed within the Musical brothers Band camp by a huge majority.
Now it is evident that there is a two band system in place. The Calypso sub-committee of 1997 which comprised Leroy “Brother Lee” Richardson and myself was taking a serious look at developing a scenario with the two band system, and after several hitches at events and the input of other calypso enthusiast, brought around the controversial change to an ALL Star band from preliminary stage to the Finals.
This change was to effect the advancement of the art form overall and from what was becoming costly and ineffective.
Ineffective in many ways, reasons been, Calypsonians were competing on two different levels, which would posed a disadvantage to the calypsonians and eliminate the hitches on shows, whereby the bands will have to changeover, whilst using one sound system.
Like most things in life, there was much debate on the change, but many of the critics after reviewing and examination of the process had change of hearts. There was always a vision within the Calypso organizing committee and we saw advantages that would compliment the change. The introduction of Music Sheets, so our calypsonians can for the first time is able to compete locally and regionally in any competition.
I have heard many controversial debates regarding Calypso in Anguilla over they years. Many aspects include the Adjudication (“De Judges Thief”) but with the total advancement and change process the time had come for another change. A move to introduce elimination, due to the increase in registrants and the duration of the Semifinals show, A Quarter Finals was introduced despite the pessimistic remarks by many on June15th 2001. Again the evolution process was high and working. The quarterfinals brought in extra funds and it was successful.
Calypso on Anguilla had advanced greatly thru the years and this growth with the support of the calypsonians, I feel strongly commenced in 1997. Calypsonians were now moving towards higher performance and achievements. There was the gradual exodus from the Band house recordings on TDK cassettes to a more modern studio facility. Where their material are arranged, recorded and produced on Compact Disc. This afforded them the chance to received fair air play on radio, which has ultimately moved to the modern technology.
With the standard of the artform on the rise and need to further develop the artist, JeLeCour Production, a non profit cultural entity, which was formed out of the Calypso Sub-Committee, was now the producers of the Calypso events. The initiative was taken after looking at the development process, to solicit renowned personnel to facilitate calypso development workshops. These necessary workshops looked at areas of Composing, Overall performance on Stage, Judging Criteria and Selection process and Copyrights. It is known that most of the active performers are not engaged in their own compositions, the workshop somehow geared them in this direction and how to do this along the criteria guidelines.
I must inject at this time, that over the years I have noticed that there had not been a broad interest on behalf of the female calypsonians to enter into the Monarch Show. Despite the poor showing, Anguillians and others can recall the coronation of a female calypsonian (Lady Messenger) who defeated (Hotshot) the male incumbent in 2002. She went on to make calypso history that year in capturing the Female Monarch show and the Leeward Islands Calypso Monarch show. In 2006 Queen B another female contender took the title of Anguilla Calypso Monarch. She is a consistent contender.
I must write about the repeated Monarch of Anguilla over the years. It seems to be quite a feat for many and hope of all. There were two- peats, three-peat, four-peat and even five-peat.
Mr. Leo started the peating with his historic 3 peat 1976 – 1978. Splinter looked at the peat as a feat and did a 5 peat 1982 – 1986. Repeater joins the peats when he did it in 1989 and 1990. Splinter after some absence from the competition, came back and been a little older and facing more competition, he did a 2 peat in 1995 and 1996. Springer never did a peat despite his efforts; he always lost to the competition, including his brother Gossip in 1999... But Springer came back with in 2000 and bang them all on stage. Would you care to mention the outstanding performances and level of Calypsonians and their songs that took them to a different peat – the local Calypso Monarch and the Leeward Island Calypso Monarch held in AXA. I think it was three or four of them?
I would conclude by noting some personal views in regards to calypso future development on Anguilla.
The future of the Anguilla Calypso crop lies in the development of the younger or junior calypsonians. The talent of the youth continues to have and remain untapped. I think the time has come, when a different approach should be adapted to the Junior Calypsonians and the junior Calypso competition, where it can be changed into a national School Calypso Competition. Training of the young calypsonians should start in school and there should be a coordinated and unwavering effort to further horn the talents of those who have left school.
The desired result is that there could be a transition into the senior calypso realm that would guarantee major improvements in standards.
The creation of the Anguilla Calypso Association is to a large extent a great direct achievement in the development of Calypso on Anguilla. This landmark actually helps brings the organization and management of calypso. I hope that calypsonians would be able to transform this breakthrough into a positive position of strength.
Calypsonians, as much as calypso at times is seen as a hobby, a sport or just a time to render two songs on stage, it is indeed part of our culture and is therefore an artistic feature in the cultural development of our country. I strongly urge you to use the basic yardsticks of the Criteria to compose, render and perform your calypso. Only in this way will our Anguilla Calypso become and remain comparable to the quality product that comes out of the Mecca of Calypso – Trinidad and Tobago.
JD
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