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The Brooklyn Panorama Competition: a Historical Account by Joshua Ray

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The Brooklyn Panorama Competition: a Historical Account by Joshua Ray The Brooklyn Panorama Competition: A Historical Account By Joshua Ray Frans, BM, MM A Document In Percussion Performance Submitted to the Graduate Faculty Of Texas Tech University in Partial Fulfillment of The Requirements for The Degree of DOCTOR OF MUSICAL ARTS Approved Dr. Lisa Rogers Chairperson of the Committee Mr. Alan Shinn Dr. Kevin Wass Mark Sheridan Dean of the Graduate School August 2019 Copyright 2019, Joshua Ray Frans Texas Tech University, Joshua Ray Frans, August 2019 ACKNOWLEDGEMENTS My wholehearted and sincerest gratitude to my advisors, Dr. Lisa Rogers and Mr. Alan Shinn for their guidance and mentorship throughout my time at Texas Tech University. Both of them have been monumental in shaping me into the musician and person that I am today. Thank you to Dr. Kevin Wass for serving on my committee for the past three years and all your help with this document. I would like to thank Kristin Murrell for facilitating initial contact with many of the interviews I was able to garner. Because of your kindness and willingness to help, I was able to speak with many important figures involved with the Brooklyn Panorama. To the individuals who were willing to take the time out of their schedules and speak with me about their personal accounts in the steelband community, I would like to thank Tom Berich, Krisitian Paradis, Kendall Williams, Yohan Popwell, Wayne Bernard, Marc Brooks, Emily Lemmerman, Martin Douglas, and Andrew Martin. I would like to thank Dr. Jesse Willis for forcing me to join the Indiana University Steelpan Program while I was a student there. If he had not pressured me to try something new, I may have never discovered the passion for such a beautiful instrument and culture. Lastly, I would like to thank my mother, Janet Frans, for all the love and support throughout my life. Also thank you to my brother, Joseph Frans, for all of your encouragement. Finally, thank you to my father, Dennis Frans, for giving me a love of music at an early age. ii Texas Tech University, Joshua Ray Frans, August 2019 TABLE OF CONTENTS Acknowledgements ....................................................................... ii List of Examples ......................................................................... v Abstract ................................................................................. vi I. Introduction ...................................................................... 1 Overview .......................................................................... 3 Justification for the Study .......................................................... 5 Limitations of the Study ............................................................ 6 Review of Related Literature ....................................................... 7 II. Historical Background ........................................................... 12 Emergence of Steelpan in America ................................................. 18 West Indies Customs and Traditions in New York .................................. 24 The Calypso Craze ................................................................ 28 III. The Brooklyn Panorama ......................................................... 34 Origins ........................................................................... 40 Rules and Regulations ............................................................. 44 Adjudication in Brooklyn .................................................. 45 The Flag Waver ............................................................ 49 Instrumentation ................................................................... 50 Ensembles ........................................................................ 53 Rehearsal Space ........................................................... 55 Captain/Band Manager and Drill-Master .................................... 62 IV. Music and Arrangements ........................................................ 65 The Panorama Count-Off .......................................................... 69 iii Texas Tech University, Joshua Ray Frans, August 2019 The Panorama Formula ............................................................ 72 Brooklyn Arrangers ............................................................... 76 V. Conclusion ....................................................................... 82 Implications for Further Research .................................................. 83 Bibliography ............................................................................ 85 Appendices .............................................................................. 88 A. Interview Transcript with Tom Berich .................................... 88 B. Interview Transcript with Kristian Paradis ............................... 97 C. Interview Transcript with Kendall Williams ............................. 103 D. Interview Transcript with Yohan Popwell ............................... 117 E. Interview Transcript with Wayne Bernard .............................. 121 F. Interview Transcript with Marc Brooks ................................. 130 G. Interview Transcript with Emily Lemmerman ........................... 139 H. Interview Transcript with Martin Douglas ............................... 146 I. The Brooklyn Panorama Competition Results (1972-2018) ............... 153 J. The Brooklyn Panorama Champion Arrangers and Tunes (1972-2018) .. 154 K. Panorama Rules and Regulations ........................................ 155 L. Junior Pan Fest Rules ................................................... 161 M. Lecture Recital Handout ................................................. 165 iv Texas Tech University, Joshua Ray Frans, August 2019 LIST OF EXAMPLES 2.1 Basic Tamboo-Bamboo Orchestration .............................................. 15 2.2 Basic Calypso Groove ............................................................. 32 2.3 Soca ‘Pulse-Anticipation’ Groove .................................................. 32 4.1 Count-Off Variation 1 ............................................................. 70 4.2 Count-Off Variation 2 ............................................................. 70 v Texas Tech University, Joshua Ray Frans, August 2019 ABSTRACT The Brooklyn Panorama competition in New York is one of the largest steelpan competitions in the United States with roots that trace back to the birthplace of the steelpan, Trinidad and Tobago. New York is also the diasporic landing zone of steelpan into America. Traditions and customs of New York’s Panorama, such as the rules for the competition, arrangements and style of music performed, and performing forces that compete, are similar to the Panorama competition that takes place in Trinidad every year during Carnival. This yearly historical event in the United States preserves the traditions and customs associated with the West Indies people, Carnival festival season, and musical styles that originated in Trinidad and Tobago’s Panorama Competition. In Janine Tiffe’s article “The Arrival of Steel Pan in the United States,” she shares that Rudy King, Ellie Mannette, and Kim Loy Wong were among the first Trinidadians to bring the steelpan to the United States in the 1940s. In Ray Allen’s article “J’Ouvert in Brooklyn Carnival: Revitalizing Steel Pan and Ole Mas Traditions,” he states that Rudy King was the first person to include a steelpan element in the New York festival in the mid-1950s. Although there is quite extensive research into the early years of steelpan in the United States, most of that research has traced steelpan through the education systems and academia. This document deviates from this approach to include traditional music being performed in a culturally accurate representation of how it is taught and performed in Trinidad. Most of the original Trinidadians that first brought this instrument and style of music to the United States have recently passed away; therefore, it is the author’s belief of the importance to document the music, traditions, and heritage. Many countries now have steelpan competitions as part of their Carnival festivals. Today, the steelpan can be found around the world and involved in many styles and genres of music. vi Texas Tech University, Joshua Ray Frans, August 2019 CHAPTER 1 INTRODUCTION The United States has embraced an art form and tradition that has migrated from the Caribbean Islands, specifically Trinidad and Tobago. The Brooklyn Panorama Competition, which is one of the largest steelpan competitions and yearly gatherings of pan enthusiasts in the United States, has ties to the emergence of steelpan in America through New York City, New York. A steelband or sometimes steel orchestra is an ensemble that consists of many steelpans. By tracing the Brooklyn Panorama competition to the initial group of Trinidadians who first brought the art form, music, and culture to the United States in the 1940s, the Brooklyn Panorama competition continues the traditions and cultural similarities of the Panorama competition that was initially established in the Caribbean. A Panorama is a steelband competition that is held annually as part of Carnival. Sometimes, steelbands are referred to as steel orchestras. Carnival is the season just before Lent in Catholicism and is celebrated all over the world. Several popular and grand celebrations include the festivals in Rio de Janeiro, Brazil; Recife, Brazil; Port of Spain, Trinidad; New Orleans, Louisiana; and Brooklyn, New York. The steelpan in American culture has become an icon for the Caribbean and
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