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Shifting Meanings of Trinbagonian Carnival Music University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies Legacy Theses 1997 Divided unity: shifting meanings of trinbagonian carnival music Baboolal, Salisha Renee Baboolal, S. R. (1997). Divided unity: shifting meanings of trinbagonian carnival music (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/16872 http://hdl.handle.net/1880/26676 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca THE UNIVERSITY OF CALGARY Divided Unity: Shifting Meanings of Trinbagonian Carnival Music by Salisha Renee Baboolal A THESIS SUBMITTED TO TEFACULTY OF GRADUATE STUDES IN PARTWL FüLFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASER OF ARTS GRADUATE PROGRAM lN COMMUNICATIONS STUDES CALGARY, ALBERTA APRIL, 1997 @Salisha Renee Baboolal 1997 1+1 National Library Bibliothèque nationale of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services servicas bibliographiques 395 Wellington Street 395. rue Wellington ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Ywr I%& Vamniliraru, Our ;lye Natra rdié- The author has granted a non- L'auteur a accordé une Iicence non exclusive licence aliowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, han, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur fonnat électronique. nie author retains ownershp of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. .. 111 ABSTRACT Thsthesis deals with two forrns of popular music in Trinidad and Tobago: calypso and soca. This thesis examines the way in which these musical genres find an accommodating discursive space to amk the hegemonic ideals of the ruling elite through lyrical and thematic representation, wbde simultaneouçly reinforcing (through the incorporation and CO-optionof ) these said hegemonic structures. It additionally seeks to determine if this discursive space provides any reaf opportunity for the reformation of those innate cultural practices embedded in the Tnnbagonian culture. These socio/political fùnctions of carnival music are analysed through two primary categories. The first deals with authenticity and commercialization and the second focuses on the use of this music as a tool for political commentary as opposed to its use as a pleasurable commodity. This second category specifically examines issues of class and ethnicity. ACKNOWLEDGEMENTS I gratefully acknowledge the foHowing persons for their valued assistance and contribution to this work: Mr Kayarn BabooIal, Mrs Enisha Baboolal, Ms GiIlian Babooram, Ms Rosanna Hany, Ms Natasha Hepburn, Ms Jearlean John, Ms Dionne Ligoure, Mr Stanley Niles, Mr Richard Railwah, Mr Arif Saqui, Ms Adilah Saqui and Mr Richard Seupersad. 1 especially want to express my gratitude to my parents and family for their unflaggïng moral support and invaIuable time and effort manifested through mynad ways in shaping this thesis: helping in the gathering of extensive research material even at a moment's notice; acting as a much appreciated sound board in those instances when this project seemed to be an unsurmountable task and, finally, for their unfailing belief in my ability to attempt and complete this exercise, even when I myself was in doubt. TABLE OF CONTENTS .. Approval Page ................... ......................................................................................... II ... ... Abstract ............................................................................................................................... rit Acknowledgements ............................ .................................................................................. iv Table of Contents ..................... ...... ................................................................................ v-vi CHAPTER ONE: Introduction ...................... ... ............................................................ 1-3 Carnival music ........................................................................................................ 3-6 The concept of hegemony ....................... .. ......................................................... 7-13 CHAPTER TWO: Cultural theory and popular music ..................................................... 14 Cultural Stiidies ...................................................................................................... 14-1 5 The Centre for Contemporary Cultural Studies ................................... .. .............. 16-17 Culture - what is it? ................................ .. ........................................................... 17- 18 Cultural analysis ..................................................................................................... .1 8-19 Popular Culture ........................................................................................................ 19-26 Lyrical Realism ................................. ..... ............................................................... 231 Crossover: Power and Economics .................... ..,.. .. ... .................................... 3 1-36 Hidden Transcripts ................................................................................................... 3640 Methodology - Background .................................................................................... 4 1-43 Research Methods - Procedure ................................................................................ 43-48 Validation of Methodology ....................................................................................... 48-50 CHAPTER THREE: Carnival music .fiom past to present ................................................ 5 1-52 The Origin of Calypso ............................................................................................... 52-53 Calypso - fiom the 1940s to 1990s ........................................................................... 54-57 The PoliticaVAesthetic divide in calypso and soca ................................................. 57-64 Soca - Consequences of commercialization ............................................................. 65-68 CHAPTER FOUR: The Trinidad Carnival ............................................................................ 69-70 Setting the Stage ...................... ... ..,.................................................................. 70-72 The Trinbagonian Fete ........................ .. ................................................................. -73-76 Band Launchings ....................................................................................................... 76 Mas Camps ............................................................................................................... .77-80 Other attractions: Calypso tents, Cornpetitions and Steelpan .................................... 8 1 -84 Dimanche Gras ........................................................................................................... 84-86 J'ouvert, Camival Monday, Camival Tuesday and Las' Lap ..................................... 87-92 CHAPTER FIVE: Analysis of power within social. economic and political factors ............. 93-95 Carnival's Hidden Discourse .................................................................................... 95 The European Aesthetic versus the African Aesthetic ........................................... 96- 1 0 1 Carnival - a festival of divided unity ....................................................................... IO1-1 I1 Two faces of Carnival music ....................... ..... ............................................ 1 1 1. 1 1 8 Calypso .Representational Ambivalence ................................................ ... .......... 1 1 8- 125 Calypso and soca .authenticity versus commercialization ................................... 125- 130 CHAPTER SIX: Conclusion .............................................................................................. 13 1 - 134 REFERENCES ................................... .., ........................................................................... 135-138 APPENDICES: A-E ........................................................................................................ 139- 148 Chapter 1: INTRODUCTION Carnival, a kaleidoscope of vibrant colour, animated images and fascinating shapes coupled with provocative dancing and vivacious music is the national fete (festival or celebration) of the twin island republic of Trinidad and Tobago (T&T)'.The annual celebration unoficially commences the day afier Christmas and continues until the eve of Ash Wednesdap, a time fhme spanning a little more than two rnonths. Within this period and even long before, there are nurnerous band launchings',
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