Calypsonian

A calypsonian, originally known as the chantwell is a musician, from the Anglophone Caribbean, who sings songs called calypso. Calypsos are musical renditions having their origins in the West African griot tradition. Originally called "Kaiso" in Trinidad, these songs, based on West African Yoruba, Ewe-Fon and Akan musical beats, were sung by slaves and later ex-slaves in Trinidad and Tobago during recreation time and about a host of topics including their land of origin, social relationships on the plantations and the lives of community members including plantation managers, overseers and owners.

In Trinidad, the songs seem to have been religious songs brought with the enslaved from their African homelands which were inevitably adjusted for their new circumstances and location. The songs evolved further as Trinidad gained a significant number of free and enslaved blacks from neighbouring Grenada which resulted in the adoption of French Creole as the language of Kaiso.

By the late 19th century the British began large scale immigration projects, mainly from Barbados, in an effort to Anglicise the island which resulted in a decline in the use of French Creole in the songs so that by the 1930s English Creole became the language of Trinidad Calypso.

Despite the changeover, many words and expressions survived in Trinidad Creole and as a result also survived in its Calypsoes including terms such as "Santimanite" from the original "Sans Humanite" among others.

Trinidad became the mecca of calypso in part because it was the most prosperous territory in the region and consequently many migrants headed to the island during the 20th century including performers. As a direct result Trinidad became known as the land of Calypso.

Traditionalist see calypso as social commentary because in earlier years it served the purpose of telling stories, relaying news events and giving criticisms of persons and policy.

Calypso was therefore divided into two classes, the social commentaries which had songs based around politics and community issues and the humorous calypso which told stories of events, real or imagined, with the intent of making the audience laugh.

The latter form was supplemented by the "Extempo" which was a singing competition between two competitors. In classic extempo, competitors were pitted against each other hurling insults in verse about each competitors appearance, singing abilities or personal situations.

More recently the competitions have developed where competitors choose a topic from a container and were given a designated period of time to compose an agreed number of verses to be sung. Each performer sang one verse and then his competitor was allowed to reply either to the verse sung or to sing about his competitor.

Verses about competitors could range from insults about their attire to physical deformities and form part of what Trinidadians term "pekong" where someone is allowed to insult another for fun.

The major difference between a calypsonian and a calypso singer is that a true calypsonian writes his/her own material, and sings topical music that reflects the reality of the community, an example being Atilla the Hun, whereas a calypso singer will tend to sing standards, like, for example, Ritchie Delamore.

Calypsonians traditionally use sobriquets based on the ideas they wish to convey of based on childhood or community based "nick-names" including some such as the Mighty Sparrow of Trinidad, Short Shirt of Antigua and Ras Irie of Barbados.

"Lord Melody" for example wished to convey the idea that he was the lord of melodious singing while "King Obstinate" of Antigua gained his name as a young man in his home village of Greenbay where people declared his attitude to be "obstinate" indicating he was mule headed.

The political calypsonian Sugar Aloes of Trinidad uses two almost opposite ideas to convey his character. The name indicates that while his singing, and perhaps himself, is sweet, his calypsoes are so scathing that they are bitter for those about whom he sings.

Leading calypsonians of the 20th century include Lord Kitchener, Roaring Lion, Lord Invader, Mighty Sparrow, The Arrow and Lord Melody.

Some calypsonians both compose and sing their calypsoes while many calypsonians in more recent decades have turned to professional composers, some being fellow calypsonians, for songs which they in turn sing.

References

• Hollis Liverpool, Rituals of Power & Rebellion: The Carnival Tradition in Trinidad & Tobago 1763–1962. Frontline Distribution International, 2001.
• M. Warner-Lewis, Guinea's Other Suns: The African Dynamic in Trinidad Culture. Majority Press, 1991.
• M. Warner-Lewis, Central Africa in the Caribbean: Transcending Space, Transforming Culture, 2002.