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Calypso music

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Calypso
Stylistic origins
Cultural originsEarly 19th century, Trinidad and Tobago
Derivative formsSoca
Subgenres
Fusion genres
Other topics
Music of Trinidad and Tobago
General topics
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Genres
Specific forms
Religious music
Ethnic music
Media and performance
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Nationalistic and patriotic songs
National anthem
Forged from the Love of Liberty
Regional music
Calypsorhythm

Calypsois a style ofCaribbeanmusic that originated inTrinidad and Tobagoduring the early to mid-19th century and spread to the rest of the CaribbeanAntillesby the mid-20th century. Its rhythms can be traced back to West AfricanKaisoand the arrival of French planters and their slaves from theFrench Antillesin the 18th century.

It is characterized by highly rhythmic and harmonic vocals, and was historically most often sung in aFrench creoleand led by agriot.As calypso developed, the role of the griot became known as achantuelleand eventually,calypsonian.As English replaced "patois" (Antillean) as the dominant language, calypso migrated into English, and in so doing it attracted more attention from the government. It allowed the masses to challenge the doings of the unelected Governor and Legislative Council, and the elected town councils ofPort of SpainandSan Fernando.Calypso continued to play an important role in political expression.

Calypso in the Caribbean includes a range of genres, includingbennainAntigua and Barbuda;mento,a style ofJamaicanfolk musicthat greatly influencedska,the precursor torocksteady,and reggae;spouge,a style of Barbadian popular music;Dominicacadence-lypso,which mixed calypso with thecadenceofHaiti;andsoca music,a style ofkaiso/calypso, with influences fromchutney,soul,funk,Latin and cadence-lypso.

Etymology

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It is thought that the name "calypso" was originally "kaiso" which is now believed to come fromEfik"ka isu" ( "go on!" ) andIbibio"kaa iso" ( "continue, go on" ), used in urging someone on or in backing a contestant.[1]There is also a Trinidadian term "cariso" that means "old-time" calypsos.[2]The term "calypso" is recorded from the 1930s onwards. Alternatively, the insert forThe Rough Guide to Calypso and Soca(published byWorld Music Network) favours John Cowley's arguments inCarnival, Canboulay and Calypso: Traditions in the Making,that the word might be a corruption of the Frenchcarrouseauxand through the process of patois and Anglicization becamecalisoand then finally "calypso"; however, Cowley also notes that the first mention of the word "calypso" is given in a description of a dance in 1882 by Abbé Masse.[3]

History of Calypso

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Calypso music was developed inTrinidadin the 17th century from the West AfricanKaisoandcanboulay musicbrought by enslaved Africans brought to the Caribbean islands to work on sugar plantations.[4]The Africans brought to toil on sugar plantations, were stripped of all connections to their homeland and family and were not allowed to talk to each other. They used calypso to mock the slave masters and to communicate with each other. Many early calypsos were sung inFrench Creoleby an individual called agriot.As calypso developed, the role of the griot became known as achantuelleand eventually,calypsonian.

Modern calypso, however, began in the 19th century as a fusion of disparate elements ranging from themasqueradesonglavway,French Creolebelairand thecalindastick-fightingchantwell.Also early in its recording years were influences from Venezuelanpaseos.[5]Calypso's early rise was closely connected with the adoption of Carnival byTrinidadianslaves, includingcanboulaydrumming and the music masquerade processions. The French broughtCarnivalto Trinidad, and calypso competitions at Carnival grew in popularity, especially after theabolition of slaveryin 1834.

Recordings

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The first identifiably calypso genre song was recorded in 1912, byLovey's String Bandwhile visitingNew York City.In 1914, the second calypso recordings—including the first sung in English—were done bychantwellJulian Whiterose,better known as the Iron Duke and famous calinda stick-fighter. Jules Sims would also record vocal calypsos. The majority of these calypsos of theWorld War Iera were instrumentals by Lovey andLionel Belasco.[6]Perhaps due to the constraints of the wartime economy, no recordings of note were produced until the late 1920s and early 1930s, when the "golden era" of calypso would cement the style, form, and phrasing of the music.

Calypso evolved into a way of spreading news around Trinidad. Politicians,journalistsand public figures often debated the content of each song, and many islanders considered these songs the most reliable news source.Calypsonianspushed the boundaries of free speech as their lyrics spread news of any topic relevant to island life, including speaking out against political corruption.

Even with this censorship, calypsos continued to push boundaries, with a variety of ways to slip songs past the scrutinizing eyes of the editor.Double entendre,or double-speak, was one way, as was the practice of denouncing countries such asGermanyand itsannexation of Poland,while making pointed references toward the colonial government's policies in Trinidad. Sex, scandal, gossip, politics, local news, and insulting other calypsonians were the order of the day in classic calypso, just as it is today with classichip-hop.And just as the hip-hop of today, the music sparked shock and outrage in moralistic sections of society.

Countless recordings were dumped at sea in the name of censorship, although in truth, rival US companies did this in the spirit of underhanded competition, claiming that the rivals' material was unfit for US consumption.Decca Recordslost untold pressings in this manner, as did its rival,RCA's Bluebird label.

An entrepreneur named Eduardo de Sá Gomes played a significant role in spreading calypso in its early days. Sá Gomes, a Portuguese immigrant who owned a local music andphonographequipment shop inPort of Spain,promoted the genre and gave financial support to the local artists. In March 1934, he sentRoaring LionandAttila the Hunto New York City to record; they became the first calypsonians to record abroad, bringing the genre out of the West Indies and into pop culture.[7]Lord Invaderwas quick to follow, and stayed inNew York Cityafter a protracted legal case involving the theft of his song "Rum and Coca-Cola",a hit by theAndrews Sisters.He made his home there along withWilmoth Houdini,and became one of the great calypsonians of the US.

Early forms of calypso were also similar tojazz(which came after) such as Sans Humanitae. In thisextempo(extemporaneous) melody calypsonians lyricise impromptu, commenting socially or insulting each other, "sans humanité" or "no mercy" (which is again a reference to French influence).

Popularity

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The first major stars of calypso started crossing over to new audiences worldwide in the late 1930s. Attila the Hun, Roaring Lion andLord Invaderwere first, followed byLord Kitchener,one of the longest-lasting calypso stars in history—he continued to release hit records until his death in 2000. 1944's "Rum and Coca-Cola"by theAndrews Sisters,acover versionof a Lord Invader song, became an American hit despite the song being a very critical commentary on the explosion of prostitution, inflation and other negative influences accompanying the American military bases in Trinidad at the time.[8]Perhaps the most straightforward way to describe the focus of calypso is that it articulated itself as a form of protest against the authoritarian colonial culture which existed at the time.

External audio
audio iconYou may hear arrangements of Calypso music byLeonard De Pauron the albumCalypso Christmasperformed with the De Paur Chorus in 1956Here on archive.org

In 1956 Mighty Sparrow won Trinida's Music contest. Calypso, especially a toned-down, commercial variant, became a worldwide craze with pop song "Banana Boat Song",or" Day-O ", a traditionalJamaicanfolk song, was recorded by pop singerHarry Belafonteon his albumCalypso(1956).Calypsowas the first calypso record to sell more than a million copies. 1956 also saw the massive international hit "Jean and Dinah"byMighty Sparrow.[9]This song too was a sly commentary as a "plan of action" for the calypsonian on the widespread prostitution and the prostitutes' desperation after the closing of the U.S.naval baseon Trinidad atChaguaramas.In addition, the choral directorLeonard De Paurrecorded a calypso album in 1956 forColumbia Recordsfeaturing his choral arrangements of traditional Christmas music from Trinidad and Barbados, as well as the songMary's Little Boy ChildbyJester Hairston(Calypso Christmas,CL 923 Mono LP, 1956).[10]

In theBroadway-theatremusicalJamaica(1957),Harold ArlenandYip Harburgcleverlyparodied"commercial" Belafonte-style calypso. Several films jumped on the calypso craze in 1957 such asIsland in the Sun(20th Century Fox) that featured Belafonte and the low-budget filmsCalypso Joe(Allied Artists),Calypso Heat Wave(Columbia Pictures), andBop Girl Goes Calypso(United Artists). Robert Mitchumreleased an album,Calypso...Is Like So(1957), onCapitol Records,capturing the sound, spirit, and subtleties of the genre. Dizzy Gillespierecorded a calypso albumJambo Caribe(1964) withJames MoodyandKenny Barron.

Soul shouterGary "US" Bondsreleased a calypso albumTwist up Calypso(1962) on Legrand records, shortly after returning home from his military post in Port of Spain. Nithi Kanagaratnam from Sri Lanka sang calypso-styled songs in Tamil in 1968, which was a success and earned him the title "Father of Tamil Popular Music". Since Baila rhythm was popular in Sri Lanka, most of his songs were classified as Tamil Baila.

In the mid-1970s, women entered the calypso men's-oriented arena.Calypso Rosewas the first woman to win the Trinidad Road March competition in 1977 with her song "Gimme More Tempo". The following year with "Come Leh We Jam", she won the "Calypso King" competition, the first time a woman had received the award. The competition's title was changed to Calypso Monarch in her honor.[11][12] The French and pioneer electronic musicianJean Michel Jarrereleased an album in 1990 calledWaiting for Cousteau.The album has four tracks: "Calypso", "Calypso part 2", "Calypso part 3 Fin de Siècle" and "Waiting for Cousteau". It was dedicated toJacques-Yves Cousteauon his 80th birthday. This album had a special participation of the Amocco Renegades (a traditional steel-drum band fromTrinidad and Tobago). In the first track is possible to notice a strong style influence. Calypso had another short burst of commercial interest whenTim Burton's horror/comedy filmBeetlejuice(1988) was released, and used Belafonte's "Jump in the Line"as the soundtrack's headliner and also" The Banana Boat Song "in the dinner-party scene.Disney's song "Under the Sea",a calypso theme fromThe Little Mermaidwon anAcademy Award for Best Original Songin 1989 as well as theGrammy Award for Best Song Written for Visual Mediain 1991.

In the late-1970s a new style, dubbedSoca music,emerged from the blending of calypso with elements of East Indian music as well as African American soul, funk, and rock. The soca music of the 1980s featured fast tempos, electric guitars and synthesizers, prominent melodic bass lines, and lyrics celebrating sensuality and dance. Many influential calypso singers includingRas Shorty I,Mighty Sparrow,Lord Kitchener,Calypso Rose,Super Blue, andDavid Rudderembraced the new style.[13][14]Brooklyn became an important site for the production of soca records from the late 1970s through the early 1990s.[15]

Although Calypso's native land is Trinidad, it is also very popular in a small "windward" island in the West Indies. This island is called Dominica, the nature island of the Caribbean. Dominicans, similar to Trinidadians also developed a keen interest in Caribbean genres such as Soca music, and Calypso in the late 1960's.[16]CalledKaisoin French creole, Calypso is illustrated as a unique form of music, especially during the Carnival season. Dominicans mainly use this genre to express their concerns and feedback on the everyday affairs and happenings of their country. Most of the music pieces composed normally have a negative stigma attached to them, expressing dissatisfaction with how their current government choose to conduct the affairs of the country. The first Calypso monarch in Dominica who was crowned in 1959 was called "The Observer" and the longest reigning Calypso monarch is King Dice. The Calypso tent is not just limited to adult participation. There is also a section called Junior monarch[4]where young children under the age of 14 are able to prepare and compete with their personally made Calypso pieces.

Calypso competitions usually commence in January and cumulate in the Calypso monarch competition that are usually held the Saturday before Carnival in February. The winner becomes the Calypso King of that year and joins Miss Dominica, the carnival pageant winner of that year, in the traditional costume parade on Carnival Monday.

Sociopolitical influence

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Calypso music has been used byCalypsoniansto provide sociopolitical commentary. Prior to the independence ofTrinidad and Tobago,calypsonians would use their music to express the daily struggles of living in Trinidad, critique racial and economic inequalities, express opinions on social order, and voice overall concerns for those living on the island.[17]During the colonial era, the Black lower class used calypso music to protest their poor economic situation and the discrimination which they were subjected to. Calypso music frequently was used as a form of musical protest.[1]

During the independence movements of Trinidad and Tobago through the early 1950s up until 1962 when the nation gained independence, calypso lyrics frequently critiquedBritish colonial rule.Lyrics were made to express feelings towards colonial rule as being immoral and oppressive to Caribbean people. In particular, during the movement to independence, calypso music would include common messages of a desire for independence,opposition to colonial ruleand empowerment for people of African descent.[1]

Neville Marcano,known as theGrowling Tiger,became notorious for creating songs calling for independence of Trinidad and Tobago. In his song titled "Abraham Lincoln Speech at Gettysburg", Tiger used inspirations fromAbraham Lincoln'sfamousGettysburg addressto draw on values of liberty, equality and democracy.[1]These three principles paralleled some of many ideas circulating during the nationalist movement inTrinidad and Tobago.His lyrics struck with those in support of an independent Trinidadian nation hoping to instill similar principles in their own free nation.

Lord Kitchener,a largely known Calypsonian, became noted for his politically critical lyrics in his music. Kitchener used calypso to shed light on the grievances of thewindrush generation,[18]a generation of Caribbean families migrating from the islands to England in response to increased labor demands afterWorld War II.[19]Kitchener's 1948 song "Windrush" was written in two versions. The first version gained more global popularity as the lyrics expressed gratitude and appreciation for British colonial rule. However, second version found greater popularity amongst Caribbean people themselves as the lyrics conveyed a story of West Indian immigrants facing discrimination and cultural alienation while living in Britain.[1]Although Kitchener's alternate version of "Windrush" did not gain as much commercial popularity, the duality of the two versions exemplify how calypso music was used as an outlet for social commentary.[citation needed]

After Trinidad and Tobago gained independence in 1962, calypso music continued to be used as an outlet for political commentary. WithEric Williamsserving as the first Prime Minister of an independent Trinidad and Tobago, calypsonianMighty Sparrowreleased his song "William the Conqueror" where he praises Williams' victory and prides the island in its newfound independence.[3]Sparrow sings:

I am no politician, but I could understand if it wasn't for Brother Willie and his ability, Trinidad wouldn't go neither come. We used to vote for food and rum but nowadays we eating all the Indians and them. And in the ending, we voting PNM. Praise little Eric, rejoice and be glad. We have a better future here in Trinidad.[3]

Calypso music has also been used by politicians to promote political agendas through Calypso competitions. The origins of calypso competitions dates back to the early 19th century postemancipationwhere formerly enslaved communities would hold calypso wars showcasing their singing and dancing.[7]Later in 1953 Calypso competitions held the same showcasing nature, but became politicized as thePeople's National Movement(PNM) took over as the main organizer of competitions.[17]The PNM used the competitions to combat social and class divisions by attracting participants of varying social status to participate and attend the competitions. The idea was to claim a national cultural identity and promote national unity.

See also

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Footnotes

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  1. ^abcdeRichard Allsopp,Dictionary of Caribbean English Usage(Oxford University Press, 1996), p. 131.
  2. ^Mendes (1986), p. 30.
  3. ^abcJohn Cowley,Carnival, Canboulay and Calypso: Traditions in the MakingArchived2017-01-09 at theWayback Machine,Cambridge University Press, p. 98.
  4. ^abCalypso WorldwideRetrieved 27 November 2020
  5. ^Richard Noblett,Calypso musicMusical Traditions. Retrieved 21 November 2022
  6. ^Richie Unterberger,Lionel Belasco Artist BiographyAllMusic. Retrieved 07 June 2022
  7. ^abFunk, Ray."Roaring Lion (Raphael Arius Kairiyama De Leon AKA Hubert Raphael Charles, 15.6.08 – 11.7.99)".Archived2010-12-30 at theWayback Machine
  8. ^Consuming the CaribbeanArchived2014-04-05 at theWayback Machine.
  9. ^j.poet (1994). Sparrow. In Hot Like Fire, Album liner notes. London: Ice Records.
  10. ^Calypso Christmas- album conducted and arranged by Leonard De Paur in 1956 on archive.org
  11. ^Guilbault, Jocelyne (2007).Governing sound: the cultural politics of Trinidad's Carnival musics.Chicago: University of Chicago Press.ISBN978-0-226-31059-6.OCLC74029379.
  12. ^Munro, Hope (2016).What she go do: women in Afro-Trinidadian music.Jackson.ISBN978-1-4968-0753-3.OCLC928136942.{{cite book}}:CS1 maint: location missing publisher (link)
  13. ^Dudley, Shannon (2004).Carnival Music in Trinidad: Experience, Music, Expressing Culture.Oxford University Press. pp. 87–92.ISBN978-0-19-513832-0.
  14. ^Guilbault, Jocelyne (2007).Governing sound: the cultural politics of Trinidad's Carnival musics.Chicago: University of Chicago Press. pp. 172–177.ISBN978-0-226-31059-6.OCLC74029379.
  15. ^Allen, Ray (2019).Jump up! Caribbean Carnival Music in New York City.New York, NY: Oxford University Press. pp. 143–188.ISBN978-0-19-065688-1.OCLC1100450802.
  16. ^Fairley, Jan (2001),"Soca",Oxford Music Online,Oxford University Press,doi:10.1093/gmo/9781561592630.article.52423,retrieved2022-12-16
  17. ^abBlatter, Alfred (2007).Revisiting Music Theory: a guide to the practice,p. 28.ISBN0-415-97440-2.
  18. ^"Calypso and the birth of British Black Music".
  19. ^Wardle, Huon; Obermuller, Laura (2018)."The Windrush generation".Anthropology Today.34(4): 3–4.doi:10.1111/1467-8322.12445.ISSN1467-8322.

References

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  • Allen, Ray.,Jump Up! Caribbean Carnival Music in New York City(Oxford University Press, 2019).ISBN978-0190656850.
  • Hill, Donald R.Calypso Calaloo: Early Carnival Music in Trinidad(1993).ISBN0-8130-1221-X.(cloth);ISBN0-8130-1222-8(pbk).University Press of Florida.2nd edition:Temple University Press(2006);ISBN1-59213-463-7.
  • Guilbault, Jocelyn.Governing Sound: The Cultural Politics of Trinidad's Carnival Musics(University of Chicago Press, 2007).ISBN978-0-226-31059-6.
  • Mendes, John (1986).Cote ce Cote la Trinidad and Tobago Dictionary.John Mendes,Arima,Trinidad.
  • Munro, Hope.What She Do: Women in Afro-Trinidadian Music(University of Mississippi Press, 2016). IISBN978-1496807533.
  • Quevedo, Raymond (Atilla the Hun). 1983.Atilla'sKaiso:a short history of Trinidad calypso(1983).University of the West Indies,St. Augustine, Trinidad. (Includes the words to many old calypsos as well as musical scores for some of Atilla's calypsos.)
  • Rohlehr, Gordon.A Scuffling of Islands: Essays on Calypso (Lexicon Trinidad LTD, 2004),ISBN976-631-034-3.*Gittens, Sinclair (August 12, 2010)."The origin of calypso".Nation Newspaper.Archived fromthe originalon January 10, 2017.RetrievedJanuary 2,2017.
  • Turner, John W. Rhythms of Resistance: African Musical Traditions in the Caribbean. Greenwood Press, 1998.
  • Dobrian, Chris. Calypso Music: A Multifaceted Genre. University of California Press, 2010.
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