Music from behind the Bridge
Steelband Aesthetics and Politics in Trinidad and Tobago
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Product details:
- Edition number and title this book connects important questions about the history of the steelband to general questions about the relation between popular culture and nationalism.
- Publisher OUP USA
- Date of Publication 6 December 2007
- ISBN 9780195175479
- Binding Hardback
- No. of pages328 pages
- Size 160x236x22 mm
- Weight 590 g
- Language English
- Illustrations 34 b/w halftones, 19 line illus. 0
Categories
Short description:
Music from behind the Bridge tells the story of the steelband, a symbol of Trinidadian culture, from the point of view of musicians who overcame disadvantages of poverty and prejudice with their extraordinary ambition. In discussing the intersection of musical thinking, festivity, and politics, this book connects important questions about the history of the steelband to general questions about the relation between popular culture and nationalism.
MoreLong description:
A symbol of Trinidadian culture, the steelband has made an extraordinary transformation since its origins-from junk metal to steel orchestra, and from disparaged underclass pastime to Trinidad and Tobago's national instrument. Now, Shannon Dudley gives the first discerning look at the musical thinking that ignited this transformation, and the way it articulates with Afro-Trinidadian tradition, carnival, colonial authority, and nationalist politics. Music from behind the Bridge tells the story of the steelband from the point of view of musicians who overcame disadvantages of poverty and prejudice with their extraordinary ambition. Literally referring to the poor neighborhoods nestled in the hills bordering Port of Spain to the East, "Behind the Bridge" is also a metaphor for conditions of social disadvantage and cultural resistance that shaped the steelband movement in the various Afro-Trinidadian communities where it first took root.
The book further explores the implications of the steelband's "nationalization" in post-independence Trinidad and Tobago, and contemporary steelband musicians' preoccupation with the formally adjudicated annual Panorama competition. In discussing the intersection of musical thinking, festivity, and politics, this book connects important questions about the history of the steelband to general questions about the relation between popular culture and nationalism.
"Shannon Dudley reveals to us in new ways the human depth and sonic richness of Trinidad and Tobago's steelband tradition. His study does much more than show how a vernacular music became a critical part of a nation-building project based on ideas of modernist reform in a postcolonial setting; it presents a beautifully balanced picture of the tensions inhering in this process. Tacking between "elite" and "folk" perspectives and aesthetics, giving equal time to ideologies and values inherited from the past and the nuanced musical thinking of individual performers and arrangers creating in the present, Dudley triumphs over the reductionist tendencies that often hamper discussions of the relationship between music and politics. Through it all, the artistry and sheer creative energy of the practitioners of pan shine through." -- Kenneth Bilby, Rockefeller Fellow at the Center for Black Music Research, Columbia College Chicago
Table of Contents:
Dedication
Acknowledgements
Introduction
The Steelband Movement and Music
An Unlikely Instrument
The National Instrument
Dropping the Bomb
A Showcase for Pan
Rise of the Arranger
Community Participation
Contest and Control
Writing Their Own Tunes
From Panman to Pannist
Popular culture and Nationalism
Appendix I: Instruments
Appendix II: Repertoire
Appendix III: Panorama Winners
Bibliography
Recordings Cited
Index
