PAN, STILL ON THE MOVE: AN EXPLORATORY STUDY OF THE STEELPAN’S UNCHARTED GROWTH AND DEVELOPMENT IN NORTH AMERICA, AND WHAT IMPACT THIS PUTS ON THE PAN MOVEMENT IN ITS PLACE OF ORIGIN, THE CARIBBEAN ANTHONY IRVINE WILSON A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO NOVEMBER 2020 © ANTHONY IRVINE WILSON 2020 ii ABSTRACT This study examines the growth and development of the steelpan in its place of origin, Trinidad and the Caribbean, and its diffusion into North American cities in Canada and the USA. This topic is based on a personal interest in the progressive development of the steelpan including the concerns and the implications for the future of the people, places, and institutions that are affected. Steelpan development, in its simplest form, is very broad when considering the varied aspects of cultural, social, academic, and economic scenarios. This dissertation offers a comparative analysis of the various aspects of steelpan development, based on the information focusing on two specific areas: academic and community development. Certain areas have begun the industrialized manufacturing of the instrument. The study is restricted to some of the major cities in Canada and the USA which have been heavily involved in some aspect of steelpan development. The rationale behind the study is to observe and determine the pros and cons in areas of development and to provide information that may be shared and further assist in steelpan developmental strategies. Findings of the research are determined through the examination of related books on the steelpan culture, government documents, newspaper articles, interviews, participant observation, and my personal direct and continuous involvement with the pan culture for over fifty years. The methodology and theoretical approaches of auto- ethnography and cultural studies are the ways and means that are employed to achieve the necessary research goals. iii ACKNOWLEDGEMENTS What makes someone return to school at sixty? Is it to complete and unfulfilled desire? Is it to prove that one is capable? Is it to achieve a goal for a purpose? I have been asked these questions many times. I never looked at age as a factor and have only seen the need to achieve for a purpose. The purpose is fulfilling a desire to further promote, develop and establish the best possibilities for the steelpan which is an instrument born out of repression and rebellion by the descendants of enslaved Africans in Trinidad. Significant contributions were also made by other races and ethnicities. This has been a major part of my life, livelihood, and a lifelong journey as far back as I can remember. I was first exposed to pan in my grandmother’s backyard and must have been aware of the sounds at age of four or five. Living in the village close to my grandmother’s home, we would often visit in the evening when the steel band would be practicing in the backyard. My acknowledgement goes all the way back to this little village of St. John. I begin by acknowledging the affirmation in my spiritual faith, which I have relied on to keep me focused and to stay on top of it all. I thank my Lord Allah for this understanding and meaningful faith. My mother (Iris Theroulde Wilson) is alive at 101 years as I write this today, and my brother Patrick is taking care of her. I can only again thank my Lord for having them here. She has literally carried me on her back when I was small. I am extremely grateful for my grandmother and the village of St. John where I grew up, my relatives and friends, the Flamingoes steelband, the elementary school in the village, and the high school situated further up on the mount. All were a part of my early grooming. Along this journey I have met many friends who have been inspirational, I thank them all. iv My family, beginning with my wife Adiylah Margaret Apparicio, whom I first met in my own home when she visited. She unexpectedly came by with a friend when I was at home cleaning an alto pan in 1970. I never did let her go after that meeting. It was as if planned, but not by our hands. We were married within three years and migrated to Canada ten days later in 1973. The main luggage was the alto pan. After some fifty years of putting up with me along with six children, (Rachel, Walid, Ishmawiyl, Miriyam, Fatima, Zaynab), and eleven grand-children Rashiyd, Lailaah, Sadiqqa, Nayeem, Zahra, Zayne, Kareem, Amilah, Nafisa, Aara, and Akeem to date, I am extremely grateful, it would not be possible without her total support. My children and grand-children have all made many meaningful contributions that have led me to this point and I am grateful. Most of my life has been spent in Montreal, where my family and I have laid down roots in steelpan development. The family group “Salah & Family Steelpan Workshop” and the steelpan school “Salah’s Steelpan Academy” have been fixtures in Montreal. We acknowledge the many people of Montreal who have been supportive of our efforts. Education, from my elementary school in the village in Trinidad (St. Benedict R.C.) to the high school on the mount (Abbey School). These provided the beginning and continuation of academia. When I migrated to Canada, my first music school was in Edmonton (Grant McEwan Community College). The second music school was McGill Conservatory of Music in Montreal. These provided my formative training in music. This was followed by Concordia University in Montreal (BFA in Music). I am grateful for Concordia University for accepting me with my steelpans, a historic first in Canadian universities. I must mention two notable professors who have been more than inspirational to me Andrew Homzy and Charles Ellison. Finally, I arrived at York University for the v MA and PhD programs. All the teachers that I have had the good fortune to be a student of, I have taken away something from them and those classes. My professors and committee members included Matt Vander Woude who was ready to assist whenever called on, and Rob van der Bliek. I really appreciated siting with Rob in his office discussing an issue in academia or just talking. Finally, I knew that I had to find someone at York who would not only assist but, guide me through this academic journey. I found that person in Michael Coghlan. Even before Michael was one of my teachers, I had a natural affiliation with him because I was aware that he was the person instrumental in bringing the steelpan program to York. After having a class with Michael, it was quite easy for me to choose a supervisor and when the time came Michael became my supervisor. I am extremely grateful to everyone here at York with whom I have interacted. For the last eight years I have lived on campus and made York my home. I continue to push the boundaries in steelpan development because it is indeed much more than a musical instrument. It represents a cause, a movement, a people, and an innovative contribution to society. vi TABLE OF CONTENTS Abstract ................................................................................................................................ ii Acknowledgements ............................................................................................................ iii Table of Contents ............................................................................................................... vi Chronology of the Steelpan ............................................................................................... xi Introduction ......................................................................................................................... 1 Chapter 1. The inception and development of the steelpan in its place of origin ......... 2 1.1 Chronological historic account of cultural aspects of Trinidad post emancipation ........ 2 1.2 Fore-runners of the steelpan………………………………………………………........ 8 1.3 Beginning of innovative period of the steelpan instrument development………… .... 11 1.4 Recognition and acceptance of the steelpan and its adherents……………… ............. 20 1.5 The early post-war years and the beginning of pan rivalry……………………… ..... .22 1.6 Chapter I Summary………………………………………………………………… ... 35 Chapter 2. The diffusion of the culture to the Caribbean and North America…… .. 38 2.1 First impact outside of Trinidad .................................................................................... 38 2.2 The significance of TASPO’s visit to the Festival of Great Britain ............................. 40 2.3 Continued innovation: chromatic pans; mobility; involvement of women .................. 44 2.4 Pan in Canada ............................................................................................................... 49 2.5 Pan in the USA.............................................................................................................. 55 Chapter 3: Growth and development from post-independence (1962) Trinidad & Tobago………………………………………………………..… …….63 3.1 Impetus for growth, independence, nationalism, youth involvement ........................... 63 3.2 Innovations of instruments, panorama, sponsorship, “dropping the bomb,” enhanced tonal qualities, and legends ........................................................................... 66 3.3 Steelbands international tours as ambassadors, Montreal Expo ’67 ............................. 71 3.4 Historic steelband tour, 1st Grammy Award nomination, inception of