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How I finally broke down the blocks to creativity Part 2

In the first Part of this series, I briefly explained how creating music was always a challenging task. My first experience at a Panorama final was a turning point in how I approached creativity after being exposed to how much can be done to a simple melody to develop it.

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After this, I spent months trying to “unwind” melodic ideas that came to me mainly through trial and error. However, as I mentioned in Part 1, creating music definitely was not my forte and I still was not satisfied with the “2-dimensional” products. The pieces never went anywhere musically that made much sense.

Photography by Amanda Elliot

Learning to accept my imperfections was part of the process. This was a marker of where I was musically at the time and with practice, I knew that I would improve. Listening to music that had interesting dimensions to it was also important. I love flamenco and Middle Eastern styles so listening to Paco de Lucia was a regular part of my car routine. Paco fused flamenco with jazz and was also a virtuoso guitarist – still my favourite to date. I also enjoyed listening to Arabic music while enjoying a coffee at Layali Café in Diego Martin. Conversations with the owner who was from Qatar, encouraged me to expand my listening choices. I began exploring Arabic music and enjoyed finding and listening to music from countries such as Turkey, Egypt, Syria, Lebanon, Iraq and Iran. Interestingly, Arabic music, Flamenco and Indian music all bear striking similarities. Think about the dances as well…they all have much in common. (Maybe exploring the history behind this could be a later blog.)

I became determined to create something with a Middle Eastern sound!

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My abstract art class

In November 2017, my good friend, Zaidee Walker of Pink Boat Studios was offering art classes. My wife, Olivia and I decided to book her to come to our home for a private session. We thought that it would be interesting to try something different. It was arranged like a “sip and paint” experience. Zaidee came with an abstract art session planned. We started with a blank canvas and made our first strokes with absolutely no idea as to what we wanted the final product to look like. She guided us every step of the way, giving us ideas on how to use the different colours. As the paintings began to develop, we then tried to find shapes within them that we could start focusing on. For example, if you saw an elephant amongst your random splatters of paint, then you were encouraged to develop the elephant. It was a creative journey that began with a completely blank slate and as we progressed in the painting, it became something that made sense to us the artists, but maybe not so much to the outside viewer. It was a very exciting experience, especially as our “elephants” began taking shape. We had fun and actually felt proud of our final pieces.

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As if that creative abstract art session with Zaidee unlocked something within my mind, I yearned for my guitar that night. That iconic Arabic phrasing also came to me so effortlessly! I fooled around with a melody for about 2-3 hours that night, trying different things but loving all of it. My creative juices were flowing. It was probably the most annoying thing for anyone listening on the outside though, hearing the same melody for hours on end. My neighbours probably turned up their TV’s that night. However, all my effort and desire to create, converged in that moment, magically triggered by a creative release in another form of art – painting. Who would have known or predicted?

The piece I created and finalized over the course of 2 weeks since that art session was eventually titled “Rumba Exotica”. I haven’t yet published it. However, very excitingly for me, it is to be presented for the first time at my next show, “The Art of Guitar” on Mother’s Day weekend 2018. It has to be a spectacle and so I invited the Cascade Festival Ballet Company to dance to that specific piece, therefore giving it another dimension of flair and Arabic Beauty. It is to be one of the highlight pieces. I can’t wait!!! My transition from Instrumentalist to Musician to Artist is finally “unwinding” and becoming evident.

Cascade Festival Ballet

In the final part to this series, I demonstrate how I have indeed broken down the blocks to creativity and I give some insight on my plans for the future.

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Original piece “Island Beauty"

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Guitarist Stefan Roach presents
"The Art of Guitar"

Mother’s Day Weekend,
12th and 13th May, 2018
@Little Carib Theatre

Featuring Collaborations with:
- Los Gitanos - Rhys Thompson, Aaron Lowchewtung, Mikhail Moore, Marc Mahase
- Sitarist Sharda Patasar
- Versatile Soprano Raquel Winchester
- Violinist Abigail Cooper
- Pannist Luke Walker
- Cascade Festival Ballet Company
- EVP Dance Company

Cost - $200 (Part Proceeds to Living Water Community)

Sponsored by Fresh Start Limited & Sheldon Alignment and Tyre Centre

Tickets available at Arts and Antiques, West Mall or Ross Photography, C3 or contact 487-1360, 499-9202 or 778-1762

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Thank you for reading. Feedback is always welcomed. If you liked what you read, please share with your friends. Look out for new blogs every Sunday.

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Stefan

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Apr 15, 2018, 5:42 PM

How I finally broke down the blocks to Creativity Part 1

One of the downfalls of my studies as a classical musician is that creativity was never emphasized. We learn theory and gain solid background knowledge of music and how it works, but not necessarily the application of that knowledge. I’m speaking about the difference between Math and Engineering!

Have studying the works of Bach, Tarrega and Villa Lobos made me a better instrumentalist? Definitely so! However, so much time was spent playing other people’s music for most of my 17 years of study that I never put much effort into creating original music. It was also clearly too much of a task to overcome certain mental blocks. Nothing sounded good enough!

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Until Panorama…

I attended the panorama final for the first time in 2017 and actually sat in the stands and listened critically to some of the bands. Unfortunately, listening to the music seems to be a rarity today, where people just go to lime in the presence of pan…you know how it is. Anyway, I listened and by the end of the night, it felt as though new connections were formed in my brain. It was fascinating to hear how much these arrangers can accomplish with a basic theme. In fact, so much of it reminded me of Baroque music, with the continuous unraveling of an idea over the course of their 7-minute arrangement. Smooth modulations from majors to minors, change of keys, variations of tones and textures, staccato, legato and rhythmic syncopations – they were all so intriguing.

That experience, built on my musical foundation and with the backing of the world music I had already experienced over the course of my life marked the turning point in my approach to creativity. It was the start of a journey.

I spent the rest of the year fiddling with ideas and “unraveling" them, many still not good enough, but learning to accept my imperfections had to be part of the process. They served and continue to serve as markers as to where I was and where I am presently on my musical and artistic journey.

There’s so much more I want to share, but in Part 2 to this blog. I hope that my experiences can help any artists with their challenges.

Stefan

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___________________________________________________________________________________

Guitarist Stefan Roach presents
"The Art of Guitar"

Mother’s Day Weekend,
12th and 13th May, 2018
@Little Carib Theatre

Cost - $200 (Part Proceeds to Living Water Community)

Sponsored by Fresh Start Limited

For tickets, contact 487-1360, 499-9202 or 778-1762

___________________________________________________________________________________

Here’s one of my original pieces, “Island Beauty”

Apr 8, 2018, 7:06 PM

President Weekes: “Be Light and See Light"

On Monday 19^th March 2018, Paula-Mae Weekes was sworn in as the sixth president of the Republic of Trinidad and Tobago and of much historical significance, the first female president.

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She brings to the position 11 years experience at the Office of the Director of Public Prosecutions and 2 decades of experience as a Judge.

Whilst the president’s role in Trinidad and Tobago is quasi-ceremonial in nature, even the symbolic leadership position can do much to inspire and positively influence societal change. At a time when the public is fatigued by years of poor Governmental leadership, people desperately need a symbol of hope and a voice.

In her inaugural address, she acknowledged the difficult times we were in.

“None of us is blind or foolish enough to deny that Trinidad and Tobago is going through dark times.”

However, we must “confront the darkness and declare that it will not take over.”

Her Excellency challenges us “to be light and see light.”

“Even in the midst of the relentless assault on our sensibilities as individuals and as a nation, every day we can find shining examples of all that is good about us. Search them out, encourage and support them in order to spread the glow.”

She appeals to us to impact practical changes and to grant her three wishes.

1) Make a difference in whatever your sphere or influence

We are not being asked to move mountains but in our own practical ways, make a positive difference.

2) When disseminating your views on any platform, report responsibly and comment civilly

This is particularly pertinent on social media, which has given a voice to those who might have otherwise been voiceless. She is not asking us to tame our activism but to “dial down the rhetoric while still adding your 2 cents’ worth to the discussion on any issue.”

3) Be mindful in your use of language

“A soft answer turns away wrath but a harsh word stirs up anger and that pleasant speech increases one’s persuasiveness. When we have the inevitable differences of opinion we can do so without the savagery, the ad hominen attacks, the gratuitous insults.”

Her Excellency implores us to apply this in our schools, markets, business places, rum shop and in our homes.

“The climate of violence is not created or even birthed in overt acts, it’s embedded in everyday talk, in commonplace interactions.”

We have to change Trinidad and Tobago at all levels of society. Let’s not give up hope. Let’s choose to be lights in the darkness.

We thank Her Excellency for her inspirational speech and we wish her well on this new journey

Stefan

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Mar 25, 2018, 3:48 PM

Meet our Top Instrumentalist of Music Festival 2018

The 32nd Music Festival of Trinidad and Tobago is finally over and hopefully most participants have left happy with their experience. Thank you to all who assisted in planning and for continuing to serve our Performing Arts Industry.

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One participant, who is without a doubt still in a state of euphoria is my star guitar pupil, Marc Mahase. Marc took home the Champion Guitarist trophy a week ago so when he was invited to the closing ceremony we assumed it was just for a final rendition of his intricate piece, ‘Madronos’ by Torroba. Little did we know that Marc was also going to be honoured not only with the Best Stringed Instrumentalist Award but also with the highly coveted Joan Yuille Williams Trophy Most Outstanding Instrumentalist. He couldn’t believe it!!! I didn’t even know the awards existed. He and his family are still ecstatic.

Best Instrumentalist

I found it only appropriate to use today’s blog to celebrate Marc’s achievement. It is testament to Marc’s raw talent and the effort he put into his preparation. Below are a few humble words shared directly from him today:

“ I feel very priveleged to have received three awards at the 32nd Music Festival. It was a great experience to perform at this level. I felt nervous at first but this diminished, without completely vanishing, as the stages went by and I became more confident with the piece."

Champion Instrumentalist Marc Mahase

"My performance piece, ‘Madronos’ by Federico Moreno Torroba was quite challenging. I am grateful to my guitar tutor, Stefan Roach, whose instruction and feedback made sure that I played the piece to the best of my ability. He was never afraid to tell me when I wasn’t playing well and never sugar-coated things. I am also very thankful to my parents who are always very supportive of my musical career.”

"Winning these awards would not have been possible, however, without individual effort in the form of countless hours of practice, which is the key to success in anything” Marc Mahase.

Champion Guitarist

On behalf of all students and supporters of Stefan’s Guitar Academy, congratulations Marc on this amazing achievement!!!

Best Stringed Instrumetalist

Stefan

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Mar 18, 2018, 7:47 PM

Three Tips for using Music Lessons to build your Child’s Self-Esteem

Self-esteem is your overall sense of self-worth. It’s commonly linked to confidence because the higher the regard you hold for yourself, the more confidence you have in your abilities. Having low self-esteem can hold you back throughout life from achieving your potential.

It’s common for some parents to enroll their kids into extra-curricular classes such as music to help build their self-esteem. If your child has especially low self-esteem, music, dance, sports can help but here are 3 pointers to keep in mind to avoid exacerbating a volatile situation.

1) Prioritize positive feedback

After a performance, rather than focusing on what went wrong, the positive aspects of the performance should be celebrated. Try not to impose your perfectionist nature on your child. Be genuine and identify specific areas of strength and not generic and unbelievable compliments, which will be rejected.

Whilst constructive criticism is good in helping a student improve their skills, let it take a backseat till the ‘performance-high’ has worn off and it’s back down to business.

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2) Do not compare

Do not compare your child to other children as this only serves to give them a relative sense of self. This can hurt their self-esteem and confidence especially if others are put on a pedestal. They should feel valued on their own whether they are better or worse than the next student.

The only comparison that should be made is to themself. How well did they perform this time compared to the last time?

3) Don’t let their extra-curricular activity or talent define them

Someone once told me that I turn into superman when I get on stage behind a guitar. Whilst I was flattered at the compliment, it also made me ponder who I was offstage. Was I valued as a person without a guitar on my lap? Did I only have confidence when a guitar was in my hands?

I’ve never had problems with self-esteem but over time I became very aware of how people can be boxed into identifying with only one facet of their complicated lives. To avoid this, ensure that you don’t only share the compliments when you speak of your child as footballer, dancer, musician…etc.

Ensure that you reinforce a positive identity outside of them being talented performers. Define their self-concept outside of their ‘talents’. What positive characteristics do they bring to all aspects of their life?

Stefan

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Mar 11, 2018, 7:01 PM

What Gives T&T’s Music Festival an Identity?

We are just over a week into the Trinidad and Tobago Music Festival and Queen’s Hall is a hive of positive energy. I visited on Thursday to pick up competitor’s cards for my guitar students and was pleasantly greeted by African drumming ensembles scattered across the courtyard preparing for their performances. They were joyfully practicing, orderly and obviously proud of the products they had been working so hard on for the past months. As I approached the loading area at the back of Queen’s Hall, I noticed steel band ensembles setting up, many kids with anxious faces.

At a time when the symbolic movie Black Panther has triggered widespread displays of pride on and celebration of African heritage, I was reminded of one of the benefits of the arts, especially the ‘traditional arts’. It harnesses a positive sense of identity. Studies have found that youth involved in traditional arts, in addition to being psychologically better off than those who did none, had better positive connections to their families and communities. These youth are better prepared to be well-adapted and productive members of society. (https://medicalxpress.com/news/2009-06-arts-good-psyche.html#nRlv)

It’s in this light that I felt the need to highlight some of the categories of T&T’s Music Festival (besides pan) that celebrated our identity and made it unique to the rest of the world.

N.B. All definitions were taken directly from the Music Festival Syllabus, which can be found on their website. (http://www.ttmusicfestival.org)

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Calypso

“Developed during the 19^th century with roots in Trinidad’s Carnival, it grew out of the various styles of Carnival music, including ribald songs, traditional drumming, social and political commentary and stick-fighting songs, which was originally sung in French Patois and by the turn of the century, sung in English. These tunes were originally sung by a “Chantuelle”, a singer who performed in Carnival “Tents” and traditionally led carnival masquerade bands. In the late 1920’s calypso evolved into a more ballad like style of political and social commentary. By the late 1970’s a completely new style, the “Soca”, (and offshoot of Calypso) was created by Lord Shorty, Shadow and others. These artists added a range of rhythmic influences from Indian music to R&B. This music has evolved side by side with the calypso and is less lyrically oriented. Soca has become almost exclusively the Road March – which is essentially music for dancing in our “street Carnival”“

Parang

“The body of Music (traditionally sung in Spanish) associated with the Nativity and the ‘serenading’ which takes place seasonally at Christmas. The music is specifically a Trinidadian representation of Hispanic music introduced by the Capuchin monks and characterized by Latin American rhythms and instruments. Traditional Parang includes a variety of song types. Only the following types may be performed at this Music Festival:

a. House to house serenades: Aguinaldo or Serenal, Guarapo, Estribillio, Manzanares, Jorop and Despedida: or

b. The Nativity: Anunciacion, Nacimiento“

Rapso

“Spoken/Sung poetry of a type originating in Trinidad and Tobago, frequently performed with a rhythmic or musical accompaniment incorporating elements of calypso. It has been described as “de power of de word in the riddim of de word”. Though often described as a fusion of native soca and calypso with American Hip Hop, Rapso is uniquely Trinidadian.“

African Drumming and Tassa

I included these two together, because I thought that having the combination of these two in the same festival was quite unique.

African Drumming

“Drumming is an integral part of the African tradition used in many aspects of life. In Trinidad and Tobago, African Drumming Ensembles ca be found in traditional religious ceremonies, as well as churches, and festivals, using drums such as the bougarabou, djembe, dun dun and talking drum. Various types of rattles are often included in the ensemble.“

Tassa

“The Tassa drum is a type of kettle drum commonplace in India. Brought to Trinidad and Tobago by indentured workers, tassa ensembles have flourished and usually consist of three to five players utilizing the Bass, Cutter Fuller and Jhanj (or jhaal). Tassa drumming can be found in various Indo-Cultural events and features rhythms (hands) that can be quite complex.”

Thank you for reading. If you liked what you read, please share with your friends. Look out for new blogs every Sunday.

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Feb 25, 2018, 9:56 PM

Last Minute Tips on Preparing for Music Festival

The 32^nd Trinidad and Tobago Music Festival 2018 is finally here and hundreds of children and some adults are presently undergoing the rigours of last minute preparations. Some competitors live for this, some are merely tagging along for the experience and some may have been coaxed into participating. Nevertheless, many new talents are discovered and young careers sparked from this experience and you can bet on every competitor remembering their days in Music Festival.

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The Trinidad and Tobago Music Festival Association was incorporated by an Act of Parliament of the Republic of Trinidad and Tobago (No. 15 of 1972) empowered “to promote and hold music festivals and to do all other such things as are incidental to the holding of such festivals; and to do all other things necessary for the encouragement of the appreciation of music.”

Music Festival is a staple on our country’s Arts’ calendar and one of the institutions that feeds positively to society. It’s not expensive to attend so put aside a night or two over the next couple weeks to support. One of the ways to combat the ills of our society is to celebrate and encourage the positivity.

This blog was conceptualized with the performer/competitor in mind. As a past competitor, I know how anxious this time can be. However, over the course of my short career with its fair share of intimidating and ‘frightening’ performances, I have picked up little pointers along the way that may help you with preparations. If you or someone you know is competing over the next few weeks, here are a few tips that may help with final preparations, (especially for my fellow instrumentalists).

Practice in front a Mirror

It sounds strange, and may not be helpful to all, but if you have a problem with anxiety and have never faced even the smallest audience, let your first audience be your reflection. Work your way up from there.

Perform for friends and family

Tell your friends/family to be seated in your practice space for a specific time. Enter and meet them there, settle and perform. This could be your living room for example or your school’s courtyard. Play your piece beginning to end without playing over parts with mistakes. Simply take mental notes of your trouble-areas and work on them afterwards. Do as many of these little performances as you can in the lead up to competition day.

Replicate conditions expected on performance night

Other than facing an audience for the first time, there are some conditions that can catch you by surprise and serve as distractions on performance night. A common one includes temperature-change. The performance venues can be very cold to some performers and can slow you down and even cramp essential muscles. This is always difficult for me to deal with as a classical guitarist where precision is required from every finger. Practice your performance in air-condition!

Other strange conditions that may be shocking to a first time performer include performing under a bright spotlight and performing in different types of clothing. As best as possible, try to practice for all these peculiarities. If you plan on wearing a suit or a tight dress for instance, ensure that you can comfortably play your instrument in it. Let your little practice audience shine a torch on you as an improvised spotlight!

Breathe

Remember to breathe deeply. The adrenaline-release before a performance can cause you to speed up and lose control. Remember to breathe and keep in touch with what’s happening in the moment. Try to relax and focus!!

Picture your audience naked?

A common and humorous tip that performers throw around to help you face an audience is to picture the audience naked. This probably serves more as a joke than anything else. Trying to imagine anything other than the music you supposed to be performing in that moment will be distracting.

Perhaps better advice may be for you to remember that your audience is simply human at the end of the day. We are all imperfect and we all make mistakes. If you do mess up, remember that you are not the first and will not be the last. Take your notes for improvement and only look forward. Every subsequent performance is an opportunity for redemption.

I hope these tips were helpful to you and I wish all performers the best of luck!

Stefan

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Feb 18, 2018, 8:14 PM

Jeremiah Reyes, the 11 year old in the front line for the Legendary Phase II Pan Groove

This past week, pan yards were abuzz with activity in preparations for their much-anticipated final performance at the Panorama final on Carnival Saturday. On visiting Phase II’s pan yard, I noticed 11-year-old frontline player, Jeremiah Reyes, quietly sitting at the side playing on his phone. He looked withdrawn and tired, a stark contrast to the energetic performer I saw on video at the Prelims.

I wondered what his experience must have been like over these past few weeks. Is he enjoying all this hard work? How is he balancing school with these late-night practices? How do his parents feel about him being involved in pan at this level? Knowing his family well, I met up with them this morning to try to get a better perspective on Jeremiah’s story and experience throughout this process.

Jeremiah is a Standard 5 student at Dunross Preparatory School. He is a footballer, an athlete, an academic, a singer, a church boy, an obedient child to his parents and of course, an excellent musician. He started learning pan at 3 years old from Mervyn Caynes. His talent shined from early and by 8 years old, Mr. Caynes had him practicing with Phase II. It took only one year before he hit the stage with the reputable band. Pan is not just a casual hobby for Jeremiah. He has also taken to the academic side of the instrument and has so far attained up to the Grade 4 level in Music Theory (ABRSM) and Grade 3 Practical (UWI).

Preparing for Panorama

Practices officially started on the 2^nd January and were scheduled for every single night up to the Panorama final except for the day after Semis, which was a rest day. Jeremiah explained that practices were scheduled for 8pm but would usually begin at 9pm and run until they “felt like finishing”. This sounded like regular late-night/early mornings for this young child, but he explained to me that no matter what time practices ran till, once he had school the next day, his curfew was 11pm. That’s the first rule that his parents set!

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Working with Boogsie

As explained by Jeremiah, working with Lennox ‘Boogsie’ Sharpe, the arranger for Phase II was a “fascinating experience”. This year the band performed “Hello” by Kes. Boogsie would listen to the melody a few times and call out the notes to the arrangement. The band did one section of the piece at a time and over the course of a month or so, eventually learnt the entire thing. Boogsie’s methods fascinated Jeremiah because everything was done from his memory.

There was no sheet music involved, previous sections were not recorded and if Boogsie had the idea for a melody in his head, he was capable of calling out the correct notes for it. The rhythm’s for the melodies were tapped out on the side of a pan or clapped and sometimes sung by Boogsie in the teaching process. “Sometimes he got angry when persons played while he was thinking, causing him to lose an idea.”

The introduction and conclusion to an arrangement were usually the last to be taught but sometimes Boogsie would go back and change other aspects of the arrangement, for example, if they scored low in Prelims or if he just didn’t like how something sounded.

Panorama Finals

Jeremiah “wasn’t nervous, but anxious” before going on the big stage at the Queen’s Park Savannah. The band set up and practiced on the track. He prayed. Everyone wished him luck. The performance was about 7mins 30secs long.

According to Jeremiah, “All the hard work and practice was worth the performance. Just being on the stage and jumping and playing and having fun was an amazing experience.”

Jeremiah and Kes

In the end, Phase II placed 7^th and I wondered if maybe this was a disappointment for him. He put on a brave
“Placing 7^th really doesn’t matter! Just the joy of the experience, playing such a great song…that’s what really matters. I met many people while playing and many people congratulated me, which made me happy. I met Kes and Kernel Roberts and got pictures with them which was a big deal.”

What about School?

Q: When do you do homework?

A: When I come home from school.

Jeremiah succinctly answered the question as though it was silly of me for asking. His discipline came to the fore. He ensures that all his homework and studies are done right after school. His mom corrects it and if he has any problems with a topic, she would teach him…Good parenting comes to the fore!!

Imagine Jeremiah placed first in his last end of term exam.

Mom Weighs In

Jeremiah’s mom, Jennifer Reyes, not necessarily the biggest music fan herself, committed from very early as a mom to supporting her children with their dreams, despite her own personal biases,

“Once it’s something for the greater good and positive.”

She was hesitant at first about him being in Panorama this year because of his SEA preparations but he was achieving excellence academically, placing first in test and “he does all his chores, so it was difficult to say no”. A strict schedule was necessary though. What amazed her was that his discipline seemed to improve. In the process, he also learnt sacrifice.

For example, if he is going pan practice in the night, he must take a nap in the afternoon. This unfortunately means, little or no football sweat with his friends. Sometimes, he begs for 15 mins to play football and you bet that on the 15-minute mark he was back home. Time management skills were developing.

Jennifer also believes that being part of the band has enhanced his memory. He is now a better musician as well, arranging his own versions of songs. “He always amazes me!”

Performing on stage in the Panorama final was Jeremiah’s dream and both Jennifer and her husband Johann were happy to allow this dream to flourish. Pan has also brought a different dimension to family time, as the entire family would come out on weekends to practice sessions. During the weekdays, a family member would drop Jeremiah and stay with him till practice was finished. These duties sometimes included extended family like his uncle and grandparents.

What’s next for Jeremiah?

Now that Panorama is over, Jeremiah has his eyes set on Music Festival. He is participating as a soloist but also with his school, Dunross in group pieces. This well-rounded young man is also an athlete participating in the upcoming Milo Games.

Let’s hope he doesn’t forget his SEA preparations. Actually, I’m certain that he’ll do well! With his incredible discipline and appetite for success in all aspects of his life, coupled with great parenting, he can only do well. His first choice is Fatima College!! We wish him luck!

Keep your eyes and ears open for more on this emerging superstar! Don’t forget the name “Jeremiah Reyes”!

Phase II performing at the Prelims 2018. Notice Jeremiah in front on the right.

Thank you for reading. If you liked what you read, please share with your friends. Look out for new blogs every Sunday.

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Stefan

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Feb 11, 2018, 8:40 PM

The Calypso Tent, 10 Years Later, Still Dying

“Calypso Tent Dying a Slow Death”,

“Calypso Tent to Close Down”,

“Low Turnouts at Calypso Tent”

…headlines similar to these have been featured nearly every Carnival season for the past decade or more.

The most recent story that aroused my interest highlighted the financial plight of the Kalypso Revue Tent. However, what shocked me was the Minister of Community Development, Nyan Gadsby-Dolly’s blunt response to the complaints from tent management about their lack of sponsorship.

She said:

“What disturbs me the most is that this tent, a staple on the Carnival landscape, with such a proud legacy, is not attracting significant patronage."

“Even if the Government was to underwrite the entire cost of production, it would not solve this more fundamental problem.”

“This may be a signal to all tents that a change in modus operandi is required to improve their brand and attract more corporate sponsorship.” ^[1]

I was pleasantly surprised and can’t recall when last a Minister kept it real, regarding this issue.

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My curiosity led me to do a little research on this so-called demise of the calypso tent. I stumbled on a well-written analysis by Debbie Jacobs (“Is Calypso Dying?”) from back in 2008, hence the use of “10 Years Later” in the title of this blog. The article is as much relevant today as it was back then. ^[2] Upsettingly enough, it has led me to wonder whether the calypso tent is really dying because passive leadership isn’t giving it a fighting chance at life.

Marketing

In Jacobs’ article, Brother Resistance lamented the fact that marketing was “stuck in the past”…that managers were operating on a blueprint of the 60s. Tents needed to figure out how to market a tent and not an individual as in the time of Kitch and Sparrow. Ten years later, the Kalypso Revue Tent for example is as strong as its headline acts, Sugar Aloes and Chalkdust.

Putting aside your opinions on the marketability (or lack thereof) of these names, it is now common knowledge that any modern business has to have a good web/social media presence to flourish. When I Google “Calypso Tent”, in between all the articles speaking of the demise of the calypso tent, the only useful site that appears is http://www.tntisland.com/tents.html which gives the locations of the tents. Of course this information is only useful if I already know that I want to go to a specific tent. What about the artiste line up, the opening dates, the costs etc?

Some tents have Facebook pages, but which are mostly inactive with meager followings. It’s not expensive to advertise on social media and every backyard fete to boat ride to All-Inclusive is doing it. If the news article on Kalypso Revue Tent did not crop up in the feed of one of my social media networks, I don’t think I would have known that tents were still around.

State Dependency

If a Calypsonian is guaranteed a salary from the Gov’t, then it’s only human nature that they do not need to create anything special artistically. Short Pants expressed this opinion in 2013. ^[3]

Does this idea reflect the reality? Does this lack of creativity transcend the running and marketing of tents as well?

Frank Martineau, co-founder of Spektakula Promotions has never relied on State subventions to assist with their shows. They hosted a sold-out show featuring calypso legends only a couple weeks ago.

He weighed in on the issue, “Maybe the traditional tents are not doing enough in terms of being creative to bring out the people.” ^[4] Frank boasts that Spektakula has tried consistently to reinvent itself, to be ahead of the advertising game, to be creative and different.

Debbie Jacob’s article communicated another detriment of the State funding tents, i.e. tents were in a way being taken over by the Gov’t. Calypsonians had to sing politically correct calypsos and were getting caught up in the divide and rule tactics of the politician. ^[2] Short Pants concurs with the idea and interestingly; Sugar Aloes claimed that he only sang ‘She’s Royal’ to PM Kamla Persad Bissessar on a People’s Partnership platform in 2012 to secure funding for his Kalypso Revue tent. ^[3] He was publicly ridiculed by the Calypso-following for this ‘sell out’.

Diversity

It’s no secret that politics and race are heavily intertwined in our society. Calypsonian Trinidad Rio believes that tents got themselves into trouble by allowing political calypsos. These usually targeted the UNC political party and its mainly Indo-Trinidadian base. Rio reminisced of a time when patrons of East Indian descent would arrive by the busload to Shadow’s Master’s Den. Unfortunately Calypsonians started to attack the Indian man, eventually isolating him.

“It just doesn’t make sense to target your economic base,” Rio said. ^[2]

Ten years later in 2018, Sangre Grande calypsonians Eric James now emphasizes the need to bring Indo-Trinidadians back to the tents. “The East Indians have been bashed in the tents for too long. Let us get real, you don’t think one day will stop come.” ^[5]

He suggested carrying tents to other non-traditional parts of Trinidad such as Debe and Barrackpore and being business wise to bring the nation back to the tent.

Is there a comfortable place for the other minority races that make up Trinidad such as the Chinese and Syrians at the calypso tents? Is there a place for tourists at the tents? Can tourists understand and enjoy calypsos dominated by local political themes?

Tent Locations and Population

Eric James’ idea got me thinking about the location of tents. Is the population density of tents in Port of Spain a liability to most of them succeeding?

According to http://www.tntisland.com/tents.html, up to the time of the last update, there were 11 tents operating in Port of Spain and environs. With dwindling audiences, if the focus is not on finding new demographics, then maybe there needs to be more collaboration and coordination amongst tents to ensure the institution survives.

In Jacob’s article, calypso expert Dr Gordon Rohlehr suggested that tents were spreading themselves too thin, especially as all-inclusive fetes, shows offering a variety of generations of calypsos and comedy shows were now directly competing for similar audiences. Some tents such as Yangatang have diversified their content, offering humour.

Content

In my late teens, I attended Talk Tent and thoroughly enjoyed it. The show offered a variety of content, including light humour, musical prowess and some mentally stimulating social commentary. Seeing Robert Munro shred on a cuatro for the first time was inspirational and hearing Short Pants read the lyrics to Blaxx- Breathless with the intonation of an academic was hilarious.

What has led to the decline in the popularity of the traditional calypso tent? Is the Trinidad population so fatigued by our morbid reality that we just can’t stand to hear about it again in song and poetry?Rohlehr suggested a similar idea 10 years ago, hence the migration of audiences to lighter, more humorous-type shows.

Today, ten years later the Minister is signaling the need for a change in modus operandi. The content of the calypso tents in addition to all the points listed above must continue to be part of the discussions of the way forward i.e. if tent managers are even interested in fighting for survival.

Debbie Jacob concluded her article, “no matter how you look at it, calypso tents are in peril. They’ll have to find a new act to stay in the picture.” ^[2]

Today, ten years later, most calypso tents still have not found that ‘new act’ or seem to be even interested in finding it. Complaints of low turnouts at the tents continue to resonate year after year together with the cries for more Gov’t funding. Hopefully this period of ‘belt-tightening’ in our country’s history will provide the impetus needed for the remaining calypso tents to evolve into more sustainable products.

Sources

1) http://www.guardian.co.tt/news/2018-01-23/financial-constraints-force-closure-kalypso-revue

2) https://kaiserball.wordpress.com/2008/09/04/is-calypso-dying-by-debbie-jacob/

3) http://www.guardian.co.tt/carnival/2013-02-06/are-calypso-tents-dying-slow-death

4) http://newsday.co.tt/2018/01/27/spektakula-bosscalypso-tents-must-rebrand/

5) http://newsday.co.tt/2018/01/20/mixed-fortunes-for-calypso-tents/

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Feb 4, 2018, 5:46 PM

A Humble Thank You Bequia Music Festival 2018

Performing guitar, as you know is my passion, but can you imagine getting the opportunity to pursue my passion in paradise? That sums up my Bequia Music Festival 2018 experience.

I was greeted with such warmth at the new Argyle International Airport, St. Vincent. My driver, Quency Lewis of Foreign Tours Taxi Service treated me like a dignitary, a novel experience for me. It was clear that I was a special guest and this shone through every person who had to deal with me for my entire time.

A 1hr ferry took me to Bequia from St. Vincent, where a team headed by Sabrina Mitchell, Chairman of the Bequia Tourism Board greeted me with a welcome package, including little essentials for the festival, a meal schedule, offering a variety of restaurants, Mount Gay Rum (the sponsor), maps and souvenirs. My hotel room was ready - a comfortable room at the Frangipani, with a deck overlooking the gardens and a bit of ocean. It was peaceful and perfect.

Bequia is what you imagine heaven to look like, an artist’s playground with picturesque tones of blues and greens for the ocean and mountains and every other colour for the homes, boats and people that compose the natural scenery. Many people from around the world regularly converge on the island and have made long term friends there. It’s not difficult to see why as you can pass by the same faces a few times in a day with the social hub of activity focused in the restaurants and bars lining the Belmont Walkway. The walkway is part of the experience of Bequia and ends at the beautiful and famous Princess Margaret Bay.

The Music Fest sponsored by Mount Gay Rum opened with a pan night at the Frangipani, an ideal welcome to those from afar to the Caribbean at its best. Other Festival nights included a Jazzy, more big-band oriented night and party-type nights.

My performance was fitted into a more relaxed afternoon setting at the Bequia Plantation Hotel. The audience picnicked, lounged in beach chairs, lay on the grass, hugged the bars, and leaned on coconut trees. I was no longer intimidated at being a solo, instrumental act. All types of languages could be heard so I knew I had a worldly audience of attentive listeners. I delivered with class and weighted my set appropriately – as one audience member described, “As the sun hit the guitar, it heated up and eventually caught fire!”

Being appreciated at that level by an international audience was tear jerking to say the least, especially after they screamed for an encore. I did an encore and left the stage euphoric to be greeted by eager audience members, some interested in purchasing my non-existent CD (it’s coming out in a couple months).

Bequia Music Festival 2018 was an iconic life experience for me, hopefully opening doors to more great opportunities to come. I continue to be grateful for the beautiful life music continues to carve for me.

Thank you to the organizers of Bequia Music Fest 2018 for your warm hospitality and for this overall amazing opportunity.

Thank you for reading. If you liked what you read, please share with your friends. Look out for new blogs every Sunday.

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Jan 27, 2018, 11:23 PM

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