Stage Personas in Calypso Music

The art of performance is often distinctive of the culture from the tradition it comes from. In Trinidad and Tobago for example, many culturally specific traits accompany what is known as Calypso. Calypso music has come to be referred to as “the voice of the people,” as it allows the population to challenge the political actions of those who govern them. Over time, this understanding categorized the calypso genre as music that encourages resistance and rebellion. As a result, it allowed Calypso music to play an important role in political expressions. Calypsonian performance  occurs in two very different locations: on the road and in the tent. When performed on the road, Calypso tends to be more festive, however in the tent, a distinct persona of rebellion and political commentary is common. Shannon Dudley explains, “Calypsonians singing in the tent cultivate a distinctive stage persona through their choice of a calypso name, the style of song they sing, and the way they dress”(38-39).
In Calypso music, the appearance of the artists, specifically costuming, affect their stage persona by reflecting their ideals and culture. Calypsonian artist Destra Garcia, primarily influenced by the sexiness of Carnival, dresses almost exclusively in “revealing clothing such as tight, short pants, and low-cut bra tops,” (Wikipedia). Garcia’s attire helps to “captivate audiences during her performances” and, as Dudley claims, “add[s] flavor to the calypsonians storytelling,” (Dudley, 39). Further, her attire reflects her ideal to “keep Carnival sexy” thus encouraging women to wear more erodic clothing during Carnival (Wikipedia). While Garcia dresses to promote sexiness, Sing Sandra (shown below) dresses to acknowledge her religious beliefs and cultural customs.
Singing SandraImage result for singing sandra
Singing Sandra customarily wears beautifully ornamented African formal wear during each of her performances. This signature tradition not only allows her to “reflect her spiritual Baptist faith” as Dudley explains, but also allows her to express her “Afro-centric orientation.” Calypso artists have the ability to express their beliefs not only through the lyrics of their calypso songs but also through their stage attire allowing them to elaborate on something that is easier to be visualized than to be verbalized.
The stage name of calypso artists is a crucial part of the performer’s identity and overall stage persona. For example, Dudley mentions “The Shadow”, and how his name conveys the, “carnival theme of death and mystery” (Dudley 39). The Shadow, whose birth name is Winston Bailey, is famous for his bold style. His songs feature stories that often have to do with hell or the devil which help to give him his enchantingly mysterious character.

Image result for calypso stage name
Using “The Shadow” as a stage name instead of “Winston Bailey” gives his audience a glimpse of what his music is about even before beginning to sing. Politics and history can greatly influence a calypsonian stage name as well. During the 1930s and 40s, war and political conflict inspired names of Calypso artists such as Dictator, Executor, Terror, Spitfire, Invader and Destroyer (Lordinvester.net). Sometimes, a stage name is chosen by the performer’s peers. The Mighty Chalkdust, for example, obtained his name from his friends because he was a schoolteacher.
Related image
From “The Shadow” to “Dictator,” the possibilities of creative names for Trinidadian calypso performers are endless. No matter how a calypsonian obtains their stage name, it is a crucial part of their identity for their audience, as well as adding to their unique style.
Along with name and attire, the style in which a song is performed is very important to the stage persona of calypso musicians. Styles of music in Trinidadian tradition often differ based on whether the performance is in a calypso tent or on the road. When performances take place in tents, one slow style song with a meaningful and often political narrative is performed first. This slow song is typically followed by a faster style song in order to give the atmosphere a festal tone. These tent performances are very important for the persona of a musician since there are competition titles at stake. Not only do these titles improve calypso artists’ status, they often include  monetary prizes for the winner. Since the judges for these competitions prefer more serious narratives over festive ones, the performers discuss political and societal issues within their song lyrics. The video below of the 2017 Calypso Semi Final illustrates this since many of the performers use political lyrics to show their more serious persona.
In terms of Road March performances, the style of songs differ from tent performances and reflect different stage personas. “Compared to calypsoes for the tent, songs for the road are generally faster in tempo, have catchier and more singable melodies (often featuring call and response at the chorus), have a more energetic rhythm, and use exciting breaks to simulate the dancers,” (Dudley, 41). These aspects are classifications of the style of music called Soca. This style is prevalent throughout road marches, as illustrated in the video below.
Stage personas of calypso artists during Road March performances portray a style of soca that reflect dance, festivity, and essentially a break from everyday life. In contrast, tent performances push the performers to use more serious lyrics to portray the more political side of their persona. Understanding these motives behind the styles and lyrics gives outsiders an appreciation for Calypsonian music.
In Trinidadian Calypso music, the style of song, choice of stage name, and general appearance greatly influence an artist’s persona on stage. This persona is important to the performer as it contributes to their credibility regarding political issues. Calypso is considered to be “music of the people”, therefore an artist’s stage presence plays a large role in carrying on the tradition of resistance in Trinidadian culture.

Intro/Conclusion: Anika Hille
Costumes: Emilia Soot
Names: Mackenzie Taylor
Style/Bibliography: Frank Saxton
Costumes:
Hope Munro (Author). “What She Go Do: Women in Afro-Trinidadian Music (Caribbean Studies Series) Hardcover – June 20, 2016.” What She Go Do: Women in Afro-Trinidadian Music (Caribbean Studies Series): Hope Munro: 9781496807533: Amazon.Com: Books, www.amazon.com/What-She-Go-Afro-Trinidadian-Caribbean/dp/1496807537.

“Destra Garcia.” Wikipedia, Wikimedia Foundation, 9 Oct. 2017, en.wikipedia.org/wiki/Destra_Garcia.

“Singing Sandra.” TUCO, 20 Jan. 2016, www.tucott.com/singing-sandra/.

The Trinidad Guardian -Online Edition Ver 2.0, legacy.guardian.co.tt/archives/2005-04-01/features1.html.

Names:

Ayres, Sern'riya. “Sweetnest is my TnT.” Pinterest, 19 Mar. 2013, www.pinterest.com/pin/205124958000500202/?lp=true.

“Mighty Monikers: How Calypsonians Got Their Names.” Lord Investor, lordinvestor.net/mighty-monikers-how-calypsonians-got-their-names/.

Style:
Video 1:

“2017 Calypso Semi Finals.” YouTube, YouTube, 14 July 2017, www.youtube.com/watch?v=AaYnAagOaEk.
Video 2:

Mekkaman. “Joukanal & Kaduwival Carnivals 2015 in Barbados.” YouTube, YouTube, 6 Apr. 2015, www.youtube.com/watch?v=1lzXxiBeRhI.

Quote:

Dudley, Shannon. Carnival music in Trinidad: experiencing music, expressing culture. Oxford University Press, 2004.



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