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Calypsonians are Social Commentators

Image: Calypsonian Herb Black performs for the large crowd last week Friday.

I’VE heard some random suggestions that there are too many Calypsos this year about “that” subject.

Separate and apart from the fact that Calypsonians are social commentators who have the power and the prerogative to set the agenda and frame the discourse in the public square during the season, if you follow Calypso, the release of multiple songs on the same topic makes for a fascinating study and critical analysis of angles, treatment of the topic and the issues raised, lyrical dexterity and satirical skill.

Calypso contributes to documented history of the times. Don’t we expect the same breaking story to head news across all major news carriers?

I had to confess that until TC Brown made a case for recognizing the contribution of Rasta in Lucian Calypso, I had never thought of it. But his is a very valid and relevant point.

But back to the most common theme this season… Folks like me (and Striker Hippolyte, Jerry George, Earl Huntley, Boots Samuel, Travis Weekes and legions of others) who listen and study calypso, we do so not merely for the entertainment value, but as cultural artifacts and commentary of a social and political kind – we think it’s a good thing.

Having said that, the skilled satirists are unchallenged in the skill or “turning phrase” from my vantage. Nintus Magre did it without mentioning that name, with one of the most memorable melodies I have heard this season. Educator’s storytelling ability in pristine Kwéyol with powerful and uncontrived rhymes is amazing, Walleigh treats extensively in his Douche It song.

I also had a fascination with Nahum Jn Baptiste’s Horsepower. (Brilliant name, so I’m caught from the get go…) He could have called it Animal Kingdom, but for the chorus and the characterisation of a bully/dictator in charge that it is alluding to.

Happy manages to capture the essence and intrigue of racetrack controversy, the central character/instigator, the co-conspirators and “neigh” sayers in a fairly average-length Calypso with astounding wordplay. But what is remarkable too is how Happy takes advantage of his daughter – Nahoma/Ready’s natural ability for storytelling in the kind of material he gives her. She does not just sing, Ready is adept at using vocalisation to dramatize — especially animal sounds.

But check this verse out:

“ when we bald rooster was exposed
From de dung Chas pull he miss
But he neigh to build his race track
De cow moo-sa, de pip-bull growl
De lion from he-lair roaring day and night
Chas neigh, he first race done set for next year in May
Bull Ma-Steve and Spider
Would not dare to interfere
De rest follow like sheep,
Bere rose, rego bere
They just dere “mere”
So I await with bated breath to hear what’s coming from another heavyweight, the defending monarch!
Love it.

— Barbara Jacobs Small
(via Facebook)

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