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Phasing in of the Steelband Art form into Higher Education
Pan
In Education – One model for the Future
Mark Loquan, President of Yara Trinidad Ltd., writer and composer
It is a real pity that in
Trinidad where there is so much creativity and music, that there is
no culture compelling us to preserve and document our music and
arrangements. Every year, after every Panorama or “Pan in the 21st
Century” event, many players do not remember the music afterwards
unless the arrangement is deliberately made part of the band’s
repertoire. Worst yet, with the music not documented and ultimately
lost, there is limited material for the schools to utilize in order
for techniques to be studied. Are we learning, and what foundation
has been provided for evolution of the instrument and our music. It
is imperative that Trinidad (and the world) to not only begin to
document their music but also place it in format that can be
utilized by the local and global community. The instrument is one
thing, the music we create and place on the world stage is another.
While there have been
previous efforts at one time to document pan arrangements in
Trinidad, little can be said of those documented scores with respect
to utilizing such scores in the education system.
This issue raises music
literacy and integration into the education system as issues,
particularly as most of our pannists learn by rote and music
literacy still remains a mystery. In fact music literacy
represents knowledge which can allow many pannists to avoid the
long hours at Panorama rehearsals, would allow preservation of music
and even equip the future generations to perform on the
international stage with conventional orchestras.
Perhaps a whole new industry
and cadre of composers, arrangers, etc. all can start from the
classroom. Products such as “Pan In Education”, Jit Samaroo’s
“Original Notes”, Ray Holman’s “Changing Time” can be a methodology
that can be used by our future composers and pannists.
The Music Literacy Trust was
established in 2004, starting off with providing scholarships for
pannists who were indeed talented but needed assistance to pursue
their music degree or certificate programs at the University of the
West Indies, Center for Creative and Festival Arts. By 2006 there
are six students being assisted through UWI, and in addition, about
one hundred pannists in the community are also supported in their
music grade examinations, particularly those steelbands who see the
necessity of music literacy as a way forward.
Part of the proceeds of the
products mentioned above also revert to the Music Literacy Trust to
assist other pannists.
The jury is still out on
this model, but we already see the performance of music in the
universities locally and abroad, with documented scores now finding
their way into the educational system for learning.
What will people remember us
for many years from now – the pan or the music??
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