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Toronto’s Caribana; Gaining
Acceptance in North America
Ronald Shah, Phoenix Firebird Steel Orchestra
The presentation briefly
traces the history of the Steelband migration from Trinidad, through
its international diffusion, to its subsequent emergence and
development in Canada. The primary focus is on the general
practices and social network of the Toronto Steelband community,
with particular emphasis on its role in Toronto Caribbean Carnival.
Also discussed, in varying detail, are the associated organizations
that are closely related to the Caribbean Cultural Committee and the
Toronto Caribbean Carnival; the history of said organizations; the
budget requirement and challenges that are faced by most Steelband
in Toronto; and a comparison of traditional bands (i.e. Jazz, Rock
or String) verses Steelbands.
Steelpan
coming to North America
In the summer of 1967 the Trinidad Tripoli Steel Band came to North
America. Amazing even in their native Trinidad; where Steelbands
are plentiful, they literally shocked listeners in such pockets of
sophistication as Rockefeller Plaza, Central Park and Lincoln Centre
Mall in New York City. Traveling northward, the band performed in
Montreal for Expo’67. They became an instant hit performing
concerts ranging in scope from elaborate to contemporary calypso.
The pavilion rivaled more complex entertainment provided by powerful
countries. During this time they established a first in the history
of Steelbands by performing for a black-tie cocktail concert at
Montreal’s Museum of Fine Arts.
Astonishing audiences at each performance, they embarked on a
nation-wide tour with the internationally acclaimed showman/pianist
Liberace.
History
of Caribana
During that same summer of 1967, Caribana was
given as a birthday gift, celebrating Canada’s Centennial, in the
unique style of the people of the Caribbean who adopted Canada as
their home. It was planned and executed by the Caribbean Centennial
Committee. Since then, 39 years have passed and what was Caribana
is now the “Toronto Caribbean Carnival”. This small event started
with a gathering of under eight thousand has grown to a
multi-cultural; multi-national; multi-million dollar event attended
by over 2 million people from around the world.
The primary influence on Toronto Steelbands is
the Trinidadian Steelband movement. Toronto Steelband repertoire,
performance practice, community organisations, and identity are
closely affixed to Trinidad. There has been little or no incentive
for the Toronto Steelband community to deviate from Trinidadian
practices despite its new environment. There are, however, signs
that such deviation is taking place, albeit largely unintended thus
far.
Levels of financial support differ, as do
physical conditions, e.g., rehearsal time and space, climate,
physical proximity of band members, and venues for rehearsa1 and
performance. All these differences are affecting the traditional
practice in Canada.
The accreditation and aptitude of Steelband
instructors in the Canadian public school music education system
constitute another area of departure from homeland practices and
have the potential of further distinguishing Steelband practices
abroad from those in Trinidad and Tobago.
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Programme