Calypso In Trinidad and Tobago: Culture, Identity And Development

The University of Trinidad and Tobago, through their Distinguished Lecture Series, is aiming to preserve and promote the unique cultures associated with Trinidad and Tobago.

On Tuesday, the University hosted their “Calypso In Trinidad and Tobago: Culture, Identity And Development” Lecture conducted by nine-time Calypso Monarch, Professor Hollis Liverpool ORTT, also known as The Mighty Chalkdust.

According to Professor Liverpool, calypso, having transformed during its lifetime, originated from many different cultures.

“Calypso like Carnival itself is a tradition brought to these Caribbean shores by our African ancestors and imbued or perhaps fed with European and Asian elements, it was developed here in Trinidad and Tobago and changed by the people of Trinidad and Tobago as the society progressed on the ever-changing road, whereby we move from enslavement to colonialism, to independence, and post independence.”

After it was developed by the enslaved Africans on the cocoa and sugar estates of Trinidad, calypso became their chief weapon used to passively launch blistering attacks on the plantation.

“Singing formed a part of the resistance arsenal as they showed their hatred for the system, the system of enslavement in their stick fights, in their masquerade, in their calypso mockery of their masters, and in their general revelry.”

Professor Liverpool also noted that Trinidad and Tobago has spread the African rhythm pattern of calypso throughout the Caribbean. He highlighted that all Caribbean islands still use its rhythm up to this day.

“So calypso is not only national music but we spreading that rhythm pattern, that 2 and 4 beats to a bar, that’s the norm for all parties and everywhere the drumming of music takes place we can discern the percussive beat of the calypso to the extent that Superblue called it in the 1980s ‘Soca Baptist.'”

Members of the public in attendance were able to ask questions and interact with Professor Liverpool, further deepening the ongoing conversation, including how to encourage youth to participate in the creation of calypso music.

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