After Emancipation in 1834, the cultural expressions of the ex-slaves continued to evolve, even in the face of suppression. Tamboo bamboo musical instruments made from the bamboo plants evolved into steelpan, resistance songs transformed into satirical and social commentary that became calypso music, and the masquerade balls were re-shaped first into Ole Mas during J’ouvert (the start of carnival) involving satirical and theatrical costumes to mock societal norms, political figures.
The carnival continued to transform in the early to mid-20th century with more organized forms of masquerades. The parades of these organized bands became larger, and the costumes more intricate, reflecting a blend of creativity and commercialism.
In the 50s and 60s, we saw band leaders such as George Bailey, Harold Saldenah, Stephen Lee Heung, and Edmund Hart bringing innovative approaches to costume design and thematic presentation. They set the stage for future generations of Carnival bands.
As the bands evolved, so did the carnival, and today it reflects diverse cultural heritage, incorporating influences from African, Indo-Trinidadian, Chinese, Syrian, Lebanese, and European communities.
The Carnival spread across the Caribbean and made its way across the globe where Caribbean people settled including here in Toronto.
Toronto Carnival’s Beginnings: The Toronto Caribbean Carnival began in 1967 as "Caribana," a community-led initiative to celebrate Canada’s Centennial by showcasing Caribbean culture. It has since grown into one of North America’s largest cultural festivals, becoming a key part of Toronto’s cultural landscape. From its early days on Yonge Street, the carnival has expanded significantly, attracting international attention and participation.
The inaugural Caribana parade in 1967 was a groundbreaking event, laying the foundation for the massive cultural festival it is today. It attracted 50,000 people, setting the stage for the future of the carnival.
Steelpan
Steelpan music in Canada has a rich history that is deeply intertwined with the Caribbean diaspora, particularly from Trinidad and Tobago, where the steelpan originated. Introduced in the 1950s, the steelpan became a vital symbol of cultural identity and community cohesion for many Caribbean Canadians. As the instrument gained popularity, Toronto saw the formation of several steelbands, including the influential Afropan, established in 1973 by Earl La Pierre Sr.
Afropan became a cornerstone of the city's steelpan culture, regularly performing at events like the Toronto Caribbean Carnival's Pan Alive competition, which began in 1997.
The steelpan also found a home in Toronto's educational institutions. Beginning in the 1980s, the Toronto District School Board (TDSB) incorporated the instrument into its music curriculum, fostering new generations of pannists. Today, over 30 schools in Ontario offer steelpan programs, and the TDSB Panfest provides students a platform to showcase their talents.
Organizations like the Ontario Steelpan Association and the Canadian Federation of Steelpan have played crucial roles in promoting and preserving steelpan music in Canada. These groups organize events, provide resources, and support the community through various initiatives.
The steelpan in Toronto has not only preserved its traditional roots but has also evolved by incorporating urban genres like R&B and pop, reflecting the diverse influences of its new home while maintaining its Caribbean heritage.
This cultural preservation and adaptation of steelpan music highlight its importance not only as a symbol of Caribbean heritage but also as a unique and integral part of Canada's diverse musical identity.
For further details and comprehensive insights, refer to the following sources:
Brief History of the Steepan:
The steelpan’s history goes back deep into the 1800s Following emancipation in 1834, former slaves were allowed to participate in Trinidadian Carnival activities. However, African-descended percussive performance was heavily targeted by restrictive government bills, sparking protests and demonstrations. These protests facilitated the development of improvisational and non-traditional percussive instruments out of scrap metal, metal containers, dustbins and bamboo stamping tubes. These 'Tamboo Bamboo' bands are widely accepted as the precursor to modern steel bands.
By 1939 the first all-steel band, Alexander’s Ragtime Band, emerged, making steel instruments a preferred carnival accompaniment.
By 1955, pans had become standardised and were largely constructed from 55-gallon oil drums, being played by striking the metal with a wooden ‘stick’ or ’beater’. These developments set the stage for the popularisation of steel pan as we know it today.
As the Trinidad diaspora spread across the globe, they took their music with them, including the UK, US and Canada
Calypso
Calypso music is a vibrant and rhythmic genre that originated in Trinidad and Tobago during the early 19th century. It evolved from the West African traditions brought to the Caribbean by enslaved Africans, who used this musical form to communicate, satirize social issues, and express political commentary. Originally performed in a call-and-response style, calypso was heavily influenced by French, Spanish, and Creole musical elements. The lyrics, often witty and filled with double entendres, address topical events and societal issues, making calypso a "poor man's newspaper" in times of limited literacy. As it evolved Calypso has spawned many subgenres, including soca mento, benna, spouge, ska, chutney, and extempo. Calypso has been part of the Toronto Caribbean Carnival since 1967
The first commercial recordings of Calypso occurred in the 1920s and 30s in Trinidad when the calypso monarch competition also emerged. Until the emergence of Calypso Rose in the mid-1960s, the genre had been dominated by men, despite a long tradition of female chantwells. Calypso Rose’s success in the 1970s culminated in her becoming the first woman Calypso Monarch.
The artform was nurtured in Canada first by the Calypso Association of Canada and now The Organization of Calypso Performing Artists (OCPA) which is a registered non-profit arts organization founded in 1981 to guide the growth and development of calypso in Toronto and Canada.