Music From Behind the Bridge : Steelband Aesthetics and Politics in Trinidad and Tobago

"A symbol of Trinidadian culture, the steelband has made an extraordinary transformation since its origins-from junk metal to steel orchestra, and from disparaged underclass pastime to Trinidad and Tobago's national instrument. Now, Shannon Dudley gives the first discerning look at the musical thinking that ignited this transformation, and the way it articulates with Afro-Trinidadian tradition, carnival, colonial authority, and nationalist politics. Music from behind the Bridge tells the story of the steelband from the point of view of musicians who overcame disadvantages of poverty and prejudice with their extraordinary ambition. Literally referring to the poor neighborhoods nestled in the hills bordering Port of Spain to the East, "Behind the Bridge" is also a metaphor for conditions of social disadvantage and cultural resistance that shaped the steelband movement in the various Afro-Trinidadian communities where it first took root. The book further explores the implications of the steelband's "nationalization" in post-independence Trinidad and Tobago, and contemporary steelband musicians' preoccupation with the formally adjudicated annual Panorama competition. In discussing the intersection of musical thinking, festivity, and politics, this book connects important questions about the history of the steelband to general questions about the relation between popular culture and nationalism."--Publisher's website

A symbol of Trinidadian culture, the steelband has made an extraordinary transformation since its origins-from junk metal to steel orchestra, and from disparaged underclass pastime to Trinidad and Tobago's national instrument. Now, Shannon Dudley gives the first discerning look at the musical thinking that ignited this transformation, and the way it articulates with Afro-Trinidadian tradition, carnival, colonial authority, and nationalist politics. Music from behind the Bridge tells the story of the steelband from the point of view of musicians who overcame disadvantages of poverty and prejudice with their extraordinary ambition. Literally referring to the poor neighborhoods nestled in the hills bordering Port of Spain to the East, Behind the Bridge is also a metaphor for conditions of social disadvantage and cultural resistance that shaped the steelband movement in the various Afro-Trinidadian communities where it first took root.

The book further explores the implications of the steelband's nationalization in post-independence Trinidad and Tobago, and contemporary steelband musicians' preoccupation with the formally adjudicated annual Panorama competition. In discussing the intersection of musical thinking, festivity, and politics, this book connects important questions about the history of the steelband to general questions about the relation between popular culture and nationalism.

CONTENTS......Page 10 ILLUSTRATIONS......Page 12 1 Introduction......Page 18 2 The Steelband Movement and Music......Page 44 3 An Unlikely Instrument......Page 72 4 The National Instrument......Page 96 5 Dropping the Bomb......Page 128 6 A Showcase for Pan......Page 152 7 The Rise of the Arranger......Page 166 8 Community Participation......Page 188 9 Contest and Control......Page 216 10 Writing Their Own Tunes......Page 238 11 From Panman to Pannist......Page 258 12 Popular Culture and Nationalism......Page 278 Appendix I: Steel Pan Instruments......Page 290 Appendix II: Repertoire......Page 302 Appendix III: Panorama Winners, 1963–2007......Page 306 BIBLIOGRAPHY......Page 308 DISCOGRAPHY......Page 318 B......Page 320 D......Page 321 I......Page 322 N......Page 323 P......Page 324 T......Page 325 Z......Page 326 'music From Behind The Bridge' Tells The Story Of The Steelband A Symbol Of Trinidadian Culture, From The Point Of View Of Musicians Who Overcame Disadvantages Of Poverty And Prejudice With Their Extraordinary Ambition. The Steelband Movement And Music -- An Unlikely Instrument -- The National Instrument -- Dropping The Bomb -- A Showcase For Pan -- Rise Of The Arranger -- Community Participation -- Contest And Control -- Writing Their Own Tunes -- From Panman To Pannist -- Popular Culture And Nationalism. Shannon Dudley. Includes Bibliographical References (p. 293-302), Discography (p. 303), And Index.