History of the Pan

Origins

Who made the first Pan? That is a question for the Pan historians. However the currently accepted paradigm is the realisation that the idea was stumbled across not by just one individual; but rather that it may have in fact been discovered by different individuals simultaneously. Not an uncommon event in the history of science or technology. There is still a little leeway for the lone discoverer theses however; but what is clear is that the discoverer or discoverers - using the accepted phraseology of the 21st Century - were from a background of those economically stressed and of African decent. Further to this is the realisation that the discovery, yet in its very early stages, was quickly dispersed among persons of similar social dispositions throughout the island of Trinidad; and later to Tobago. The pan was then seriously developed by its multitudinous adherents into the instruments we recognise in common use today. Along the way there were some individuals who are recognised as having made significant contributions to its structure, layout of notes, and some particular range of ‘voices’ of these instruments.

By the mid 1970’s, because of the lack of significant useful documentation to the historical record - due mainly to the lack of focus, and absence of responsible cultural institutions, to record such matters from within the same stressed socio-economic classes; their attentions otherwise occupied on more pressing matters - there was still no clear answer to question of who invented the pan. This situation was playing havoc to those now emerging responsible to reporting on the cultural health and heritage of the Nation to its people. Pan Trinbago, the uneasy collective of Steelbandsmen who represent the steelbands in Trinidad and Tobago, were tasked with finding an answer. After some consultation they responded with the tentative suggestion that Winston Spree Simon was the most likely inventor of pan; and have since propounded and supported this idea; though still remaining a little sceptical to the lone inventor hypotheses. So by the early 1980’s, Spree was in the history books; and the steeldrum instrument declared the National Instrument of Trinidad and Tobago in 1992.

The Music

Duelled with the emergence of the new steeldrum instrument themselves, was the development of the musical forms that were to be played upon them. Rhythmic; through simple non chromatic melodies and chants; to the full polyphonic representations that are made, for example, at today’s Panoramas. The steelband Panoramas of Trinidad and Tobago represent the pinnacle in the development of the musical genre of the steelband vis calypso folk-art, so specific to these islands.

It is clear that the true roots of this musical art-form stem from the cultural inheritance of those of our scattered African forefathers. Whereas in North America the Blues, Gospel and Jazz became the evolved voice of expression to a stressed and displaced African diaspora; as too is the Samba to its equivalent communities in South American Brazil; the Calypso, and later Regge, were the equivalent song-forms of the Caribbean. In Trinidad in particular, the earlier Calypso lent its voice to pan.

The Calypso

The Calypso itself holds its own unique place in musical history. It is one of the few vocal art-forms that is accepted by the society it entertains, to be a major vehicle of social and political protest, to a National forum; the message woven in clever rhythmic verse. This musical tradition, some 300 years in the making, was forged in the cloud of slavery. The steelbands adopted calypso and adapted it as their own music-form.

Although the emerging steelbands played other types of music - interpretations of popular songs of the day and also ventured into interpretations of classical music - they represented most of their renditions mainly in calypso tempo. The seasonal calypso songs of these islands became the standard material for main-stream musical interpretation and development of this steeldrum folk-art.

The Culture

Those that make the pans, play in and or manage the bands, arrange and compose for the bands, transport the bands, push the bands down the road, supply for the bands, resource the bands, love the bands, work with or for the bands, organise and manage events for the bands, and the avid supporters and fans of the bands are collectively known in Trinidad and Tobago as members of the pan or steelband culture.

In Trinidad and Tobago in particular, ardent members of the steelband culture have adopted pan as a way of life. They see the steelpan as a vehicle for social and economic advancement, and as a legacy of endeavour to be passed on for their children to inherit. They are clannish and tied mainly to their local steelband; although some remain itinerant and go from band to band plying their services as either players or active supporters. Whatever they do, relationships and work are secondary to the calling of pan; and at Panorama time, they are totally lost to the panyards for the duration.

In summary, it is clear that pan is alive, spreading rapidly as a culture and it well out of danger elsewhere on the planet.