Film Review: The Caribbean

JVC/Smithsonian Folkways Video Anthology of Music and Dance of the Americas Vol. Four

I chose the twenty-minute segment of musical excerpts from the Caribbean islands of Trinidad and its smaller northeast neighbor, Tobago. The overall design of the film series was an educational project with recordings selected and sequenced to represent a variety of styles from different countries.

Originally a 30 volume JVC Video Anthology of World Music & Dance was prepared in 1989 by editor Dr. Tomoaki Fujii of the National Museum of Ethnology at Osaka. In 1990 Smithsonian/Folkways Recordings assisted with translation for the English language edition. They were also asked to assist with production of a further 6 volume set on the Americas.

The anthology consists of existing footage licensed from filmmakers, artists, and "others." The film search, licensing, and mastering was undertaken by Stephen McArthur and funding from Visual Software Division of the Victor Company of Japan, Ltd. (Seeger 1995:7)

In the selection process, footage from festivals and recording studios were avoided in favor of home gatherings, dance halls, local bars or churches to show musicians and dancers in "culturally appropriate locations with knowledgeable local audiences." (Seeger 1995:6)

The video selections have no narration and were not designed as documentary and the accompanying written commentary varies on each since some have no record of musicians’ or dancers’ names or complete texts of songs. The purpose was a broad overview stating "no island in the Caribbean is fully represented here" yet claiming each "contains quite a few traditions found on the different islands." (Seeger 1995:4)

For educational preparation of viewers, an overview "Dance and Movement Performance" essay was presented with the first volume in which three basic types of dancing were explained: 1) Solo dancing in which an individual dancer performs alone; 2) Couple dancing in which two (rarely 3 or 4) people dance together; and 3) Group dancing where at least four people dance together. (Friedland 1995:9-13) Also included was a discussion of artistic movement performance including ritualized movement, play and games, movement of musicians while playing music, and processions.

The technical quality of the video is quite variable from selections to selection due to the differences in equipment used, the photographers’ experience, the subjects and settings. Notwithstanding, a remarkably vivid image of the islands’ music and dance is grasped.

The opening clip is of Trinidad Carnival, the Caribbean’s largest and most widely known event. It occurs annually on "Tuesday Mas" with an all-day procession through the streets of Port of Spain following mobile steelbands and soca groups. Part of the celebration is the formally judged competitions for "Band of the Year" and the viewer is a parade observer of Charlie’s Roots, a Trinidadian soca-calypso band performing "Give Me More" on a tarpaulined flat-bed truck with amplified music for the elaborately costumed revelers as well as street-clad participants in the streets.

The second clip were the Trinidadian East Indian Musicians and Masqueraders in 1988 at Port of Spain. Eastern Indians comprise 40% of the island’s population and present their traditions in celebrations and private events. This ensemble is a tassa group, the small kettledrum with Arabic origins found among Muslim groups worldwide. The bright red costumes, including the papier maché hobby-horse represents a dancing burro in New World masquerade tradition. The instruments played include a large double-headed bass drum, the tassa, and hand cymbals. The drums have goatskin heads and the tasss are tightened over a flame to increase the sharp attack and high pitched ringing tones prior to a performance. Bass players strike one head with a stick and the other with their free hand. There are various pre-set rhythmic patterns called "hands". Tassa groups perform the 10-day Hosay festival (commemorates martyrdom of Prophet Muhammad’s grandson, Husain) in the fall, as well as Hindu weddings. Some see African elements in the drumming style. (Witmer 1995:41)

The third clip is of bele performed by Donald McAuley with guest female dancers and musicians in 1979 in Central Trinidad from a small all-night social gathering. The music is from chac-chac (maracas), a chantwell (lead singer/soloist), a vocal chorus, including audience participants and three hand drums, consisting of two foulé playing recurring set patterns and one "cutter" which cuts through the overall with improvised variations. The female dancers are beckoned by the male partner for their solo as he presents her, both in very reserved, restricted precise and slow motions. They are in traditional Afro-Caribbean high-dress with elaborate headties and floor-length petticoat with overdress from late 18^th century. (Witmer 1995:44) The camera moves in for close-up shots of the feet, smoking drummers, and captures the pleasure of the participants in this brief clip.

The fourth clip is of Andrew Beddoe and his Tamboo Bamoo Band performing "Five Thirty-five in the Morning" in 1988 in Siparia, Trinidad. This is a Trinidadian French Creole response to the 1883 legislation banning the playing of African and East Indian drums. Bamboo stalks were cut to various lengths to coincide with various drum sizes and tones so that dropping them on the grown would produce a similar tone and sound of the "banned" drum. For example, the longest would be the "boom boom" bass and supply the basic beat while smaller would serve as "cutter" or foulé sounds. These tamboo bamboo ensembles were the main focus of the island’s Carnival until the 1930’s when the steeldrum bands began to emerge. (Witmer 1995:45)

The fifth clip is a Bongo dance with tamboo bamboo band filmed in 1982 in South Trinidad and is a traditional Afro-Trinidadian practice for funeral wakes. Adding to the above described bamboo stamping tubes are several kwa kwa (from French "croix" cross) strips of bamboo rhythmically knocked together. Also other musicians play cross rhythm patterns on their tubes by striking them with knives. There are vocal interjections and very athletic and acrobatic dancers perform agile movements attempting not to tip over the ritual torch flambeau which is placed in the middle of the dance circle. The African dance is believed to have connections to the Orisha/Shango religion the Yorubans brought to the Caribbean. It was one of the practices banned by the 1883 ordinance and again in 1921, but it has remained in rural areas and is now presented in stylized concert stages. (Witmer 1995: 45) This particular clip was filmed outside in natural lighting but appears most professional of the segments.

The sixth clip is of Calinda which describes a sport/dance/martial art performed to the accompaniment of voice and percussion. This particular scene was filmed inside a building with a large participating audience, some singing along. They seem to have betted on the event of "stick fighting" or have close personal involvement. The winner lands the most number of blows or delivers a blood-drawing head blow. These stick fighters were known as composers of taunting songs used during battles. Calinda was influential in developing calypso. (Witmer 1995:46) There are three hand drummers along with stick players who also sing and provide the background for the event which is filmed with remarkable clarity in the dark, smoke-filled arena. The work-boots of the drummers hold the sides of the drum as he sits on it to play.

The four next clips are actually sequential. They are of members of the United Brotherhood of Time Spiritual School in 1988 in South Trinidad and surround the Spiritual Baptist ("shouter" faith) baptism ceremony. The event or rite combined certain practices of Orisha belief and practices with evangelical Protestantism belief and practice. The Spiritual Baptist religion was illegal in Trinidad from 1917 until the 1950’s because of its noise and "disorder" and its African connections, although it continued. (Witmer 1995:47)

The first segment in this series is filmed in the church with the minister in all white. Female parishioners in blue "uniform" dresses with red wrapped headpieces hum multiple pitches and provide background percussion with foot tapping as the minister charges the hooded baptismal candidate with her duties. Male voices are also heard off-camera adding to the vocal chorus. The camera is close on the parishioners who seem to not watch particularly.

The second brief segment of the series follows the parishioners going to the water where the baptism will take place. They sing "Wiltshire" ("Through all the changing scenes of life") a tune in Protestant hymnals. A bell rung by the male leader is prominent along the route and the hooded baptismal candidate is lead by a female companion whose shoulder she holds. The women accompanying sing and provide rhythm. The viewer is an observer along the road.

The next segment of this series is at the beach where the music has animated to revival pitch, "Going Down, Jordan", and is accompanied by maracas and handclapping patterns in 3+3+2. By this time the baptismal candidate is showing physical signs of being possessed by the Holy Spirit with help from her companions who likewise bob, clap, and sing in an African percussion ensemble grouping with a male interjecting vocals.

The next clip is a blending of Spanish and African traditions called "Parang". The house-to-house serenading by musicians at Christmas (similar to caroling) is expanded to include non-Christmas tunes and social dancing. This particular film was done inside a small house in 1988 of Daisy Voisin who was a prominent Trinidadian parang artist. She was filmed singing in Spanish with five handclapping chorus singers. There are maracas players and a one-string "rope" bass fiddle (a box with a wooden rod), a wood block caled caja china, a "cuatro" small guitar and Spanish guitars. The words were translated to be "With a spear in one hand, and a rose, I am more powerful than the Virgin of Venaldo. Lerolay lerolay lay, How tasty is this candombe, The teacher who taught me, He told me not to sing with my naked bum." (Witmer 1995:48-9) The camera shots and were close up and fairly dark due to the small space.

The next clip was by far the longest and was a calypso/soca which topically has lyrics of witty commentary on current events, politics and gossip. This tune was Carnival Killer, sung by Denyse Plummer and Kitchener’s Review Tent Band in 1991 at Port of Spain during the Carnival competitions. She is on stage with a large live audience and her costume and hair are definitely performance in character and the purpose to involve the audience is obvious. She was declared the 1991 National Calypso Queen of Trinidad and Tobago for it and has maintained that title for several years. She dances, offers flags to audience to wave and encourages their participation to which she has several takers. Some were so animated they seems "staged" for the performance with reactions of the band and interactions with the audience who jumped on stage to join in end. The Carnival atmosphere of the event was "freewheeling…uninhibited exuberance" (Witmer 1995:50-1). It seems the winner was declared when the moderator of the contest had to take over for order.

The biggest drawing event of the Trinidad Carnival is the Steel Band Competition each year and "Woman is Boss" performed by Phase II Pan Groove Steelband in 1988 at Queen’s Park Savannah, Port of Spain was the show-stopping winner. 40-55 gallon metal oil drums were tuned to varying pitches and played with large nails. The drums were mounted on wheeled racks or stands and played by dozens to hundreds of performers, mostly adult males. A couple flag-waving dancers accompany and the energy of the players is contagious. Their athleticism is remarkable and obvious as they play and dance during break in the tune.

In meeting the overall purpose of the film project, I would give the video high marks from both an emic and etic point of view. Multiple viewings of the video draw increasing observations and the accompanying overview by contributing writers Anthony Seeger and Robert Witmer assist with suggested readings and a glossary of terms. I would recommend viewing for anyone.

References

Seeger, Anthony. 1995. "Complete Introduction to the Series". The JVC Smithsonian/Folkways Video Anthology of Music & Dance of the Americas, Vol. 1. Smithsonian/Folkways Recordings: Rockville, Maryland.

Witmer, Robert. 1995. "Notes on Selections". The JVC Smithsonian/Folkways Video Anthology of Music & Dance of the Americas, Vol. 1. Smithsonian/Folkways Recordings: Rockville, Maryland.