The Steel Band

I remember in my early twenties in Guyana very badly wanting to learn to play in a steelband. At that time my only contact with steelband music was at Christmas when I tramped for miles and miles behind several different bands in Georgetown. Then in the 1960s I attended Carnival celebrations in Trinidad, and danced behind the Texacans Steelband until the stroke of midnight when all bands packed up before the star of Lent. Since then, my last effort to learn met with failure as the all-girls band I targeted in Guyana folded up shortly.

The Steelband has always evoked a strong attraction for me. When I hear the wonderful tunes coming out of a set of steel drums I am delighted. It is even more enchanting to hear the variety of music being played, whether it is classical, or calypso, reggae or jazz.

... Day after day, there is the tuning and adjusting of the various tones, sometimes to the annoyance of neighbours. But the tuning goes on. They have got to get it right. ...

The performers are usually people who have not had any particular knowledge of music but are very skilled in making melodious sounds. They are dedicated to 'playing pan' as it is described. This is most noticeable when they try their utmost to tune the pan to the notes that would improve the melody of the song they are playing. Day after day, there is the tuning and adjusting of the various tones, sometimes to the annoyance of neighbours. But the tuning goes on. They have got to get it right.

I have seen condensed milk tins being played at Trinidad Carnival and the lovely music coming out of those tins left me with a sense of wonder. The talent exhibited in this type of exercise is simply amazing.

It is because I feel so strongly about this aspect of culture that I decided to register for the Steel Band Project recently at the Royal Festival Hall. Since I never had the opportunity to learn to play in a steel band when I was very much younger , I was going to do I now - Saturday, 20 May 1995.

I listen to various people talking about the contribution the steelband is making to the cultural diversity in this country. It is even more wonderful to hear that it is gaining some recognition as a backup at various concerts being written to include a steelband component.

I was also delighted when the opportunity was presented for participants to be involved in playing in the steelband. At first I tried to play the tenor pan and found that it wasn't that easy. Then I tried the base pan. I felt comfortable with it and soon got into the rhythm of playing it. I felt proud that I myself was able to contribute to the melody coming out of this base pan.

Previously my only exposure to steelband music in the U.K. consisted of my annual jump-up on Carnival Day. Now I was actually beating out the notes out of a pan. I felt excited - really excited.

It was interesting that two of the participants demonstrating on that day were actually from the Caribbean. Their performance was of a very high standard - the best I would say.

How did my day at the workshop end? I felt proud of myself and of the fact that I could still enjoy identifying with my Caribbean roots.