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After a lapse of some years calypso drama reappeared in 1964 on the nightly calypso concert programmes tra ditionally offered to the Trinidad public in the weeks preceding the annual carnival celebration. These musical playlets have always enjoyed considerable popular appeal and, in a period of emerging nationalism, it has been argued that they contain the rudiments of a national drama and theatre. In this article I propose to trace the history of calypso drama and analyse the genre as a valid theatrical form.
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- Copyright © American Society for Theatre Research 1968
References
NOTES
1 In that year, 1838, the Port-of-Spain Gazette urged the abolition of carnival. It opened its attack in an editorial of March 2 deploring the “disgusting and indecent scenes” that were enacted in the streets, one of which was “the African custom of carrying a stuffed figure of a woman on a pole, which was followed by hundreds of Negroes yelling out a savage Guinea song.” This may be considered the first “roadmarch” calypso.
2 Michael, Wolfgang, Früformen der Deutschen Bilhne (Berlin, 1963), p. 57.Google Scholar
3 Joseph, E. L., History of Trinidad (Port-of-Spain, 1838), p. 264.Google Scholar
4 Quevedo, Raymond, “History of Calypso” in This Country of Ours, Independence Brochure of The Nation (Port-of-Spain, 1962), pp. 81–97.Google Scholar
5 On Decca Record No. 17381-A (78 r.p.m.).
6 The Mighty Sparrow, One Hundred and Twenty Calypsoes to Remember (Port-of-Spain, 1963), p. 37.Google Scholar
7 Brown, Wenzell, Angry Men, Laughing Men (New York, 1947), p. 261.Google Scholar
8 Ward, W. E., “Music in the Gold Coast” in Gold Coast Review (1927), III: 214.Google Scholar
9 The Mighty Dictator (Kenny St. Bernard), comp. Trinidad 1951 Calypsoes (Port-of-Spain, 1951), pp. 13–14.Google Scholar
10 On National Record No. N.S.P.028 (45 r.p.m.).
11 “Shantwell” derives from the French chanterelle or female soloist. The etymology of the term suggests that the first calypsonians were, in fact, female, a suggestion apparently confirmed by statements attributed to old veterans of the late nineteenth-century carnival to the effect that the “cariso” was a woman's song and dance performed in stick-fighting yards as an interlude to the more serious duels of the male batonniers. Henry Breen, writing of singing societies in St. Lucia in the 1840's, refers to “the chanterelle, or female singer, upon whom devolves the task of composing their Belairs, and of reciting them at their public dances.” (Si. Lucia: Historical, Statistical and Descriptive, 1844, pp. 192–193.)
12 “Mitto Sampson on Calypso Legends of the Nineteeth Century,” in Caribbean Quarterly, IV (March-June 1956), 250–263.
13 Port-of-Spain Gazette, February 26, 1903.
14 A few years ago a song feud raged between the Mighty Sparrow and Lord Melody. Each calypsonian sang and recorded a number of compositions highly disparaging to his opponent. This feud went on for several years and even the near relatives of the combatants were not exempt from attack. The writer has copies of eight calypsoes by Sparrow against Melody and seven by Melody against Sparrow. There are doubtless others.
15 During the 1940's and 1950's the two principal calypso tents were the Old Brigade and the Young Brigade. Singers generally teamed up according to their age. The veteran singers belonged to the former tent, which boasted a traditional style of performance, while the youthful and more experimental calypsonians joined the Young Brigade. Needless to say keen rivalry existed between the two tents.
16 Calypso wars were not usually put on commercial records. The earliest known recording is on Decca No. 17283-B (78 r.p.m.), labelled “Calypso War” with Radio, Tiger and Lion taking part.
17 Sunday Guardian, February 19, 1964.
18 The complete manuscript of Atilla's History of Calypso is reportedly lost, although excerpts from it have been published in various journals and newspapers from time to time. The fragment cited was found in the calypso archives of Dr. J. D. Elder.
19 Port-of-Spain Gazette, January 17, 1934.
20 In only one instance was a woman character in calypso drama played by a female calypsonian. This was in “The Wrightson Road Scandal” of 1945 when Lord and Lady Iere took the roles of defendants on a charge of managing a brothel. King Radio played the Judge, Lord Caresser the Police Inspector, and Lord Invader was the tout. (Sunday Guardian, January 14, 1945.)
21 Trinidad Guardian, January 22, 1944.
22 Blacks, Sonny, comp. Calypsoes Souvenir Book of the 1956 Season (Port-of-Spain, 1956)Google Scholar, pages not numbered.
23 Raymond Quevedo, History of Calypso, nd. Unpublished fragment.
24 Published in The Yale School of Drama Presents, ed. John Gassner (New York, 1964).