The University of the West Indies St. Augustine Campus Faculty of Humanities and Education Caribbean Studies Project HUMN 3099 Student Name: Michael Joseph Student ID no.: 808011754 Degree Program: BA Musical Arts (Special) Supervisor: Mrs. Kelly ramlal Title of Thesis: An examination of the economic and social aspects associated with foreign steel orchestra musicians participating in the panorama competition of selected countries; Trinidad and Tobago, St. Vincent and the Grenadines, Antigua and Barbuda. Declaration 1. I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgment, the work presented is entirely my own. 2. I authorize The University of the West Indies to make a physical or digital copy of my thesis/research paper/project report for its preservation, for public reference, and for the purpose of inter-library loan. 3. I consent to have my attached thesis used in any publication comprising Caribbean Studies Projects by The University of the West Indies. I understand that I will receive no compensation. I hereby assign publishing rights for the contribution to The University of the West Indies, including all copyrights. Signature of Student: MICHAEL JOSEPH Date: 5/8/2020 808011754 2 THE UNIVERSITY OF THE WEST INDIES Undergraduate Coursework Accountability Statement (To be completed by student) ACADEMIC YEAR: 2019-2020 SEMESTER: II COURSE CODE: HUMN 3099 TITLE: Caribbean Studies Project NAME: MICHAEL JOSEPH ID: 808011754 1. I hereby certify that I am the author of the attached item of coursework and that all materials from reference sources have been properly acknowledged. 2. I understand what plagiarism is and what penalties may be imposed on students found guilty of plagiarism. 3. I certify that this paper contains no plagiarized material. 4. I certify that this is my own work and that I did not receive any unfair assistance from others (including unauthorized collaboration) in its preparation. 5. I certify that this paper has not previously been submitted either in its entirety or in part within the UWI system or to any other educational institution. 6. In the case of group work: a. I certify that the individual work of each member of the group has been clearly indicated; b. that where no such indication has been given, I take the responsibility for the work as if it were the section of the paper for which I am solely responsible; and c. that I have not collaborated with any members of the group to breach the University’s regulations. Signature: MICHAEL JOSEPH Date: 5/8/2020 808011754 3 Acknowledgements I would like to firstly give recognition to my supervisor, Mrs. Kelly Ramlal, for her guidance and support as I conducted this research. I would also like to express my gratitude to the committee members of each band who participated in the survey: Roddy Dowers-Starlift Steel Orchestra SVG, Derel Jarvis-West Side Symphony Steel Orchestra ANU and Marcus Ash- Silver Stars Steel Orchestra TT. They provided not only insightful information but assisted in the gather and distribution of information between the countries. The interviewees, Cathy Ann Joseph, Robert Simmons and Akeam Hannaway have been helpful and willing participants and to all the persons who participated in the questionnaire, I would like to say thank you. This research would not be possible without you all and God’s good graces. 808011754 4 Abstract An examination of the economic and social aspects associated with foreign steel orchestra musicians participating in the Panorama Competition of selected countries; Trinidad and Tobago, St. Vincent and the Grenadines, Antigua and Barbuda. Panorama has been a driving factor in the development and popularity of steelpan as a musical art form. Trinidad and Tobago (TT), St. Vincent and the Grenadines (SVG) and Antigua and Barbuda (ANU) have annual Panorama festivities and attract many foreigners to their islands with the intension to both partake and observe. The main intention behind this research thesis was to explore the dynamics of foreign players who are contracted for the Panorama Season. The study makes use of questionnaires, online surveys and an interview to analyze the social and economical factors faced by the three main parties involved; management of the steelband, foreign players and local players. The questionnaires provided statistical representation of both viewpoints (local and foreign) on the emerging trend of Panorama contracts (contracted foreigners). Online surveys were done with Roddy Dowers (SVG), Derel Jarvis (ANU) and Marcus Ash (TT) to gain an understanding behind the reasoning for contracts and the means of implementing said contracts. The interviewees Cathy Ann Joseph (TT), Robert Simmons (ANU) and Akeam Hannaway (SVG) are active steelpan enthusiasts and have been active in travelling to numerous countries for the Panorama Season; inclusive of the Panorama Competitions in the three countries being examined. The research shows the mindset of all parties, the relative costs, the benefits and reasoning of this endeavor. ANU and SVG has a higher demand for foreign players than TT and the evidence is explored in this thesis. Key: Panorama, steelpan, contract, foreigner, Trinidad and Tobago, St. Vincent and the Grenadines, Antigua and Barbuda, Economic, Social 808011754 5 Table of Contents Acknowledgements Pg.4 Abstract Pg.5 List of Figures Pg.7 List of Appendices Pg.8 - Introduction Pg.9 - Methodology Pg.12 - Literature Review Pg.15 Chapter 1 - Economic Aspects Pg.20 Chapter 2 - Social Aspects Pg.29 Chapter 3 - Conclusion Pg.39 Works Cited Pg.41 Appendix - Appendix A – Questionnaire Pg.46 - Appendix B – Online Survey (Steelband committee members) Pg.65 808011754 6 - Appendix C – Interview (Contract players) Pg.85 808011754 7 List of Figures Figure 1 Pie chart showing the average length of stay in the foreign country Pg.21 Figure 2 Bar graph showing the number of foreigners who collect a stipend and the range of this stipend Pg.22 Figure 3 Column graph showing the Travel and Accommodation allowance received by foreigners Pg.23 Figure 4 Column graph showing the age range of respondents Pg.29 Figure 5 Pie chart showing the percentage of respondents from the listed countries Pg. 30 Figure 6 Doughnut chart showing if respondents participated in the Panorama of a foreign country Pg.31 Figure 7 Column graph showing if respondents have ever participated in a Steel Orchestra that had foreign players for Panorama Pg.31 Figure 8 Bar graph showing the number of respondents who participated in the listed Country/Countries Pg.32 Figure 9 Bar graph showing the views of foreigners and locals for the reason of foreigners in participating in Panorama Pg.36 808011754 8 List of Appendices Appendix A – Questionnaire Pg.46 Appendix B – Online Survey (Steelband committee members) Pg.65 Appendix C – Interview (Contract player) Pg.85 808011754 9 Introduction Panorama competitions have grown to become the preeminent competition for steelpan music. The first official Panorama competition was held in 1963 in Trinidad and Tobago. The National Association of Trinidad and Tobago (now known as Pan Trinbago) launched this new competition in conjunction with the government of Trinidad and Tobago as a means to promote the instrument. Steelpan competitions have been occurring before this year 1963; this is the first recorded instance where the name “Panorama” was used (Juice). From the 1960s until present year 2020 the competition has not only grown in popularity but the concept has also spread throughout the globe. It is regarded as the biggest competition for 1 a steelband where musicians of varying nationalities come together with the goal of winning. Persons of various ages have been travelling overseas to participate in different Panorama competitions worldwide. The popularity was affirmed through the first International Conference on Pan (ICP) Panorama Competition. This was held in Trinidad and Tobago during August of 2015 where steelbands from the Caribbean, Europe, North America and East Asia participated. Rationale I, being an active participant in Panorama Competitions, attempted to explore the developing culture of travelling for such intentions. Trinidad and Tobago is known to have set the standard for this competition being the pioneering country of steel pan. Two additional countries, SVG and ANU, will also be added to the scope of this study as steel orchestra musicians are in demand for their respective Panorama season. 1 A band that plays using primarily steelpan instruments 808011754 10 This study takes a closer look into the economic and social factors that are associated in the contracting of foreigners. This is a difficult task as there are a plethora of variables to be considered with limited information readily available. It is my aim to highlight the factors that influence this trend of contracting foreigners and uncover the cost and benefits of such an interaction. Steelpan culture is a vital and important part of Caribbean history especially in the selected countries where Steelpan has flourished. The movement of musicians across international borders affects this culture of steel pan. The view point of the foreign players, local players and steel band committee members would be the vital in understanding how this affects the steelpan fraternity. What are their views on the topic area of temporary migration for the purpose of competing in Panorama? Is it cost effective? Is it beneficial to the organisation participating in the competition? Social interactions within the constructs of panorama preparations must be explored to aid in the growth and development of Steelpan. Thesis Statement This research seeks to exam the economic and social aspects associated with foreign steel orchestra musicians participating in the Panorama Competition of selected countries: Trinidad and Tobago (TT), St. Vincent and the Grenadines (SVG), Antigua and Barbuda (ANU). Parameters The study was conducted over the course of September 2019 to May 2020. Three countries were chosen: TT, SVG, and ANU. One steelband and one contract player was chosen from each location. Panorama Competition is the main focus of this study. 808011754 11 Objectives The challenges and experiences faced by travelling musicians will be explored. The goal of my study is to document and provide an observational report of the perspectives of local players, foreign players and management committees of steel bands on the culture of contracting players. 808011754 12 Methodology For the purpose of this study, both primary and secondary research methods were applied. With the participants being from several countries an online approach was used. The popular phone application “WhatsApp” was the main process used to share and receive information with parties involved. With aid from “Google.docs” this data was documented. Secondary research methods were first explored. Information from online books, websites, articles and news forums was gathered to improve the knowledge and scope of the topic examined in this study. The history of steelpan and Panorama within the regions of Trinidad and Tobago, St. Vincent and the Grenadines, and Antigua and Barbuda aids in providing a foundation upon which the research is built. There is limited research on the topic area available. The primary research methods used was in forms of questionnaires, surveys and an interview (See Appendix). Questionnaires were distributed to all steelpan players who both travel and those who participate in Panorama competitions. This was conducted over a two month period, March and April 2020, and received a total of two hundred and four (204) responses. The message was sent via communication platform known as “WhatsApp”. A total of twenty seven (27) close ended questions were asked on several economic and social aspects with respect to the Panorama experience (See Appendix). An online survey was given to three steelband committee members, each member being from a different country; Starlift Steel Orchestra SVG, Silver Stars Steel Orchestra TT, and West Side Symphony Steel Orchestra ANU. The survey consisted of both open and close ended questions and was distributed during the period March and April 2020. From ANU West Side 808011754 13 2 Symphony Steel Orchestra Derel Jarvis, the Arranger for the Panorama Competition in 2019 who has a history with the band, assisted in the collection of data. West Side Symphony was founded in 1995 and has been competitive since 1997(“West Side Symphony Steel Orchestra - 3 History”). From TT Silver Stars Steel Orchestra Marcus Ash, the Drill Master and member of the band, assisted in the collection of data. Silver Stars is a very prominent organization in Trinidad and is registered in the Large Conventional Band category of the Panorama Competition; the band has 2 Panorama tittles (“Total Steelband Panorama Wins - Trinidad and Tobago.”). From SVG Starlift Steel Orchestra Roddy Dowers, the Captain of the band, assisted in the collection of data. Starlift was founded in 1967; the band has 20 Panorama tittles (“Steelband Panorama Champions of St. Vincent & Grenadines.”); and represented SVG in the International Conference of Pan in 2015 (Haynes). All three persons are associated with the steelbands in a manner to obtain the necessary information and experiences encountered from contracting foreigners. To gain a more precise understanding of the foreigner’s perspective, an interview was conducted with Cathy Ann Joseph from TT. This individual is from Trinidad and Tobago and has participated in all three countries’ Panorama Competitions and she has developed a network with steelband members of the three countries listed in this research. An email interview was conducted with Robert Simmons from ANU and Akeam Hannaway from SVG. Simmons and Hannaway have both travelled to TT for the Panorama season and their experiences would be considered. In addition to the interview contact was maintained with all three individuals via WhatsApp. 2 A person in charge of arranging the music for a Steel Orchestra 3 A person in charge of conducting the rehearsal for a Steel Orchestra 808011754 14 Another primary research method used to a certain extent was self observation. The researcher, being an active participant of Panorama within these three countries listed and having a network of colleagues in the steelpan community, has made note of several factors around the topic. The research looked at the views of three steelband committee members and their respective bands response to certain aspects of foreigners; three steelpan players and their experiences in Panorama; and a questionnaire distributed to steelpan players from different countries inclusive of TT, SVG and ANU. 808011754 15 Literature Review Steelpan has influenced not only the culture of TT but other cultures around the globe. The popularity of Panorama “has made it the biggest steelband competition in the world, and it has encouraged the development of other competitions with the same name in a number of other countries” (Ziegler 8). Mia Gormandy also spoke on her research on steelpan in Japan and the adoption of this culture; Japan nationalist have been travelling to TT for Panorama. “As the years progress, more and more Japanese pannists visit Trinidad for Panorama yearly. In 1990s, there were few Japanese pannist visiting at one time, but in 2016, about twenty Japanese pannists participated with groups for the competition. Almost all Japanese pannists who have visited Trinidad came during Carnival for the Panorama competition” (Gormandy). Foreigners have not only participated in Panorama in the performing capacity but also in an adjudicating and arranging capacity for the competition (Ziegler 10). There is no existing scholarly work on the topic of Panorama competition with regards to persons who participate from other countries. This is one reason for conducting this research. There have, however, been numerous articles, books, theses, dissertations and publications on the steel pan and its growth and development as a musical instrument. th The steelpan is the only major musical instrument to be invented in the 20 century; “The Trinidad and Tobago Bureau of Standards describes a steelpan as "a definite pitch percussion instrument in the idiophone class, traditionally made from a steel drum or steel container"” (“National Emblems – Steelpan”). It originated from TT and has matured into a rich culture over the past decades. During the ban of African drumming during the 1930's persons started to experiment with metal objects to produce musical sound (“History”). This metal object came in 808011754 16 4 the form of tins, dust bins and Crix pans. Remy spoke on the innovation behind the steelpan stating: From 1941 to 1945, the United States began construction and operation of the US Navy and Air bases in Chaguaramas, Trinidad, just west of the Port-of-Spain. As a result of this, the American bases began discarding empty 55 gallon oil barrels. In a 1990 lecture given by Ellie Mannette at The University of Arizona, Mr. Mannette stated that in 1946 he went to the US Navy base to fetch a discarded 55 gallon oil barrel which he used to make a steel drum; he then entered this steel drum into a competition at the Roxy Theatre in Woodbrook. This was a revolutionary moment for pan history. When Mannette took his drum out of his sack, the judges were astonished that he had used a 55 gallon drum and had sunk it in a concave manner. Further improvements in the pan design rue credited to Ellie Mannette for separating or grooving note areas and incorporating rubber mallets in 1949. (Remy 20) 5 The popular object was the oil drum and from this steelpan was produced. Steel band Music Festivals began since the early 1950s in an effort to create and foster a 6 sophisticated arena of musical competition for the panman (Remy 22). Panorama is an annual music festival where steelbands compete performing an arrangement of a song from the calypso or soca genre. It is usually held within the Carnival season. In TT there are four different Panorama categories: Single Pan, Small Conventional, Medium Conventional and Large Conventional Steelband. The Large category, which is considered the biggest and main event, is carded for the Saturday before Carnival Monday. On the other hand, in SVG and ANU there is 4 Caribbean cracker, food item 5 Cylindrical container used to transports crude oil 6 An individual who plays steel pan 808011754 17 only one category and one round of competition. The Thursday before Carnival Monday in SVG is usually the date of Panorama; and in ANU the Saturday before Carnival Monday is usually the set date. The first official Panorama competition was held in 1963 in Trinidad and Tobago. “ The Carnival Development Committee (CDC), later changed to the National Carnival Commission (NCC), in conjunction with the National Association of Trinidad and Tobago Steelbandsmen (NATTS), later changed to Pan Trinbago, decided to create an event to showcase the talents of the nation’s steelbands, and combine the national arts of calypso, steelband, and masquerade” (Ziegler 7). The competition grew in popularity and soon other countries implemented their own Panorama competition during their scheduled Carnival festivities. According to Ziegler the competition in TT occurred on the same stage as the Calypso Monarch and Carnival Queen competition which made it a great deal of prestige for the steelpan musicians. Panorama type competitions have spread to numerous Caribbean countries, states in America, and some European and Asian countries. The overall structure and template of the contest is based on the design implemented in Trinidad and Tobago. Trinidad and Tobago’s Panorama competition is still considered the pre-eminent steelband competition in the world. St. Vincent and the Grenadines has been hosting Steelband competitions since the 1950s. The steelbands were required to perform a test piece together with two arranged calypsos, one of which had to be local. In 1973 the test piece was discontinued and in 1981 bands were required to perform a single local calypso in the now Panorama Competition (“The Story of Steelbands and the Steelband Art Form in St. Vincent - UpClose!”). Antigua and Barbuda have been hosting Steelband competitions since 1949. All contesting bands were required to play a test piece, “The Peanut Vendor”, at the very first 808011754 18 competition (Gordon). According to Stafford Joseph, the former captain of Hells Gate Steel Orchestra, in the 1990s a change in terminology from Steelband Competition to Panorama occurred (Michael); this was also reflected in the growth and development of steelpan culture in TT. Trinidad and Tobago, St. Vincent and the Grenadines, and Antigua and Barbuda have a rich history of steelpan culture. Although the information available is not directly linked to the topic of foreigners participating in Panorama, it lays the foundation for a more precise understanding of the reasons for travel. Michelle Huggins-Watts, a Trinidadian steel pan arranger, said with regards to steelpan music: "It helped bring the players recognition, it allowed them to travel and see the world, it brought opportunities they would never have had if they had not been involved in this art form" (“A Brief History of the Steel Pan”). The growth of steelpan music has created a niche market for skilled musicians who can now offer their skills and services to other countries. 808011754 19 Image 1 “CARIBBEAN SCENES - Steel Band Practice.” (Pascall) Chapter One 808011754 20 Economic Aspects Musicians, particularly steel orchestra musicians, have been travelling the globe since the birth of steelpan in the 1930’s. Panorama has been one of the most popular steelpan competitions since the 1960s. Steelbands have been interacting and contracting with foreign players since the birth of the competition. The dynamics of this contract are unique for each country. The impact of this is vast not only to the steelpan community but to the country itself. The focus would be on the economic and social aspects of this interaction. According to Jim Chappelow, “Economics is a social science concerned with the production, distribution, and consumption of goods and services. It studies how individuals, businesses, governments, and nations make choices on allocating resources to satisfy their wants and needs, trying to determine how these groups should organize and coordinate efforts to achieve maximum output.” With regards to the economic aspects, this research explored the overall cost of contracting players, from a foreign country, experienced by three selected steelbands (Starlift SVG, Silver Stars TT, and West Side Symphony ANU). The Panorama Competition for both ANU and SVG occur for one day as there is only one round of competition unlike TT which has three rounds of competition being Preliminary, Semi-Final and Final. The Panorama season begins at the Panorama Launch which is usually between one or two months prior to the competition date. Players are contracted during this time period. The cost of this transaction varies as it correlates to the length of stay in the country. Steelband organizations have several responsibilities to uphold for these foreign players depending on the terms of their contract; mainly food and hotel accommodations. According to the results of the questionnaire (89 total foreign players), 44.9% of the foreigners stayed more than 3 weeks in the country for the Panorama season and 14.6% stayed for 3 weeks on average (See Figure 1). 808011754 21 On average, what is the longest you have stayed in the foreign country? 15% 11% 1 week 2 weeks 29% 3 weeks 45% 4 weeks Figure 7 Pie chart showing the average length of stay in the foreign country A total of 59.5% of the foreigners stayed at least 3 weeks in the country hosting the Panorama Competition. This variable has a direct impact on other costs such as food and housing which the steelband organization may have to endure. Hannaway, in a WhatsApp message, said that one trip to TT to perform with a medium band in 2016 lasted almost two months due to the three rounds of competition. The research suggests that steel orchestra musicians are compensated for certain costs (stipend, airfare, housing, meals); more in the cases of ANU and SVG than TT which were looked at. 49.4% of these foreigners collected a stipend from the organization in which they are associated with. This stipend will aid in miscellaneous expense incurred during their stay in the country and in some cases is a form of payment for services rendered. The value of this stipend varies; 22.5% of foreigners received over TT$1000.00, 22.5% received between TT$500.00 and TT1000.00 and 5.6% received less than TT$500.00 (See Figure 2). 808011754 22 Have you ever collected a stipend for your participation in the Panorama Competition of another country? (If Yes, how much is the stipend?) No 44 Yes >TT$1000 20 Yes. TT$500 to $1000 20 Yes 30 Age Range Figure 10 Column graph showing the age range of respondents The majority of participants in questionnaire are young adults, however only 43.6% of those respondents travel for Panorama; this may be due to the fact that the survey was done via WhatsApp and the older generation tends to be less electronically active. The research showed that 73% of participants are from Trinidad and Tobago; 7% are from St. Vincent and the Participants 808011754 30 Grenadines; 7% are from Antigua and Barbuda; and the remaining 13% are selected "Other" (see Figure 5). What country are you from? Trinidad and Tobago St. Vincent and the Grenadines Antigua and Barbuda Other 13% 7% 7% 73% Figure 11 Pie chart showing the percentage of respondents from the listed countries The participation in Panorama was a vital component of the study and the perspectives of both local and foreign players were taken into consideration. According to the results, 44% of the 204 participants have participated in a Panorama Competition of a foreign country (see Figure 6). With regards to local players the eighteenth question stated “Have you ever participated in a Steel orchestra (in your home country specifically TT, SVG, ANU) that has foreign players for the Panorama Competition?” According to the results 170 persons selected “Yes”; 18 selected “No”” and 16 persons selected “I am not from any of the listed countries” (See Figure 7). 808011754 31 Have you ever participated in the Panorama Competition of a foreign country? Yes No 44% 56% Figure 12 Doughnut chart showing if respondents participated in the Panorama of a foreign country Have you ever participated in a Steel orchestra (in your home country specifically TT, SVG, ANU) that has foreign players for the Panorama Competition? 180 160 140 120 100 80 170 60 40 20 18 16 0 Yes No I am not from any of the listed countries Responses Figure 7 Column graph showing if respondents have ever participated in a Steel Orchestra that had foreign players for Panorama The country/countries in which each respondent participated in a Panorama Competition can be seen in Figure 8. The results show that 149 persons participated in Trinidad and Tobago; Number of Persons 808011754 32 36 persons Participated in St. Vincent and the Grenadines; 37 persons in Antigua and Barbuda and the remaining 73 persons in “Other”. Which country/countries have you participated in a Panorama competition in? Other Antigua and Barbuda St. Vincent and the Grenadines Trinidad and Tobago 0 20 40 60 80 100 120 140 160 Number of Persons Figure 8 Bar graph showing the number of respondents who participated in the listed Country/Countries Of the 89 foreigners in the questionnaire, when asked if they believed themselves an asset to the band 7.9% (7 persons) said “No”. Another 6.7% (6 foreigners) answered “No” when asked if they believed their presence helped motivate local players to perform better. 16.9% also believed the steelband will perform at the same level without foreign players’ contribution and 47.2% selected “Maybe”. Only 36% of foreigners believed that the steelbands need the assistance of foreign players to be successful in the Panorama Competition. On the other hand with regards to the local players’ point of view, 83% of 170 respondents (locals) believe that the band will perform the same without the help of foreigners which suggests that only 17% of locals believed that the steelband needed the assistance of foreign players to be successful. This data speaks to the psyche of the musicians being contracted and the environment they have entered. This data Countries 808011754 33 begs the question to whether foreign players’ skill and presence is valued by both the management and local players of the steelband or not. Ash stated that they do not bring foreign players to their organization; the players come to the band of their own choice and means. Dowers and Jarvis have a different approach. They intentionally choose and bring players to their country with the intension of improving the overall performance ability of the band for Panorama. In this instance Social learning theory is applied. Social behaviour, in this instance steelpan playing techniques, can be acquired by observation and imitation. This learning process has been prominent in steelpan music since the early stages of steelpan in the 1930’s. Burton describes rote learning as the traditional way of learning the steelpan. Jarvis and Dowers have stated that they expect the foreign players not only to play their instrument but also assist in the distribution of music in the band and to share knowledge and experiences. Therefore the selection of such players is based upon the required skill set; mainly for ANU and SVG. When the local players were asked about the skill level of the foreigners, 72.4% of the 170 respondents stated they are of a high standard. The task of social learning can only be accomplished with positive interactions between individuals. In a “TEDx talks” video Kim Johnson spoke on the bonding of individuals through musical and cultural experience in the steelpan community. Even with individuals from different nationalities a family atmosphere is fostered; Johnson stated that “every single form of human exclusion has been transcended in the steelband movement without breaking stride” (Johnson, 00:20:10 – 00:20:22). Steelband representatives in the online survey all rated social interaction of players to 4/5 and higher, and have stated that the members are also in agreement with this contract situation. The steelpan culture is unique and the social interactions are complex. The social group consists of members of different ethnic backgrounds however this does not hinder the means of 808011754 34 interaction between persons. Only 7.1% of local players believed the cultural differences make it a challenge to interact; 88.2% state that the foreigners interacted well with locals. Joseph stated; “Ideally I would just like to go learn the music, perform and relax the rest of the time. However, I do find myself helping because you become close to the people in the band and in that feel like a part of the band. So if there is someone in my section that needed music that I had, I would teach them.” Foreigners were asked in the questionnaire if they participated in other activities during the Panorama preparations besides performing; only 15.7% of respondents said “No” which shows the willingness of these contracted players to put additional effort in the goal to win a Panorama title. These activities can be but are not limited to tasks such as cleaning instruments, moving instruments or teaching players. Participation in these activities would have a positive effect on the local players as they would see a teamwork environment in the organization. This type of environment, everyone working together rather than separately, promotes an atmosphere that fosters friendship and loyalty. This can motivate members of the band to work harder, cooperate and be supportive of one another (Wehbe). Hannaway agreed with this notion stating that he sees participation as “a motivation for some [band members]”; Simmons also stated that he believes “every player has a duty to help the band move and as a player you should be participating in any band activity”. The questionnaire showed that only 14.1% of local players stated that foreign players do not motivate other players to practice harder. The research suggests that a more efficient organization is achieved with the use of contracted foreign players according to a significant number of individuals involved. Socialization also occurs outside of the Panorama setting. 94.4% of foreign players stated that they interact outside the panyard and 92.1% stated that they kept in contact with local 808011754 35 players after the contract was completed and they returned to their home country. According to the questionnaire the cultural differences between these players do not impede on their ability to interact. 60.7% of the local respondents stated “No” when asked if it is easier to interact with other foreigners in the band rather than interacting with the local players; only 13.5% of local players said they did not interact with foreigners outside the panyard setting. The data collected indicates that all players form bonds and friendships from their experiences not only in the competition but outside those parameters as well. The research conducted also explored the existence of any differences in the treatment of local and foreign players by the management committee of the bands. According to the questionnaires 24% of local players said “Yes” to this subject matter; whilst 42% said “No” and 34% said “Sometimes”. Local players believed that, for at least half of the cases, these foreigners are given preferential treatment; 11% of the locals also believed that the foreigners do not show the same level of dedication in the Panorama preparations as locals. The level of dedication may be in direct relation to the treatment of foreigners not only by the band’s management but also the band members. Simmons and Hannaway have both reported to having experienced unsatisfactory experiences with certain organisations. The statements given from the steelband representatives suggest that the foreigners are held to the same standard as the local players with their organization. Taking into account motives of foreigners, the research looked into the standpoint of both local and foreign. What is the main reason for foreigners participating in the Panorama Competition? According to the results 57.6% of local players believed the foreigners are mainly there to enjoy their stay in a foreign country whilst only 37.1% of the foreigners stated this as their main reason. Earning money was not a popular reason for both parties according to the 808011754 36 questionnaire; locals (8.8%) and foreigners (5.6%).With regards to the reason being to help the band win a Panorama title; 33.5% of local players agreed with this option whilst 57.3% of foreigners stated this. This data suggested that although in most cases where steelbands contract foreigners to help win the Panorama Competition more than half of the local players do not believe that is their main intension (See Figure 9). Foreigners Locals 57.3% 57.6% 37.1% 33.5% 8.8% 5.6% Winning a Panorama Enjoy the stay in the Earn money country Figure 9 Bar graph showing the views of foreigners and locals for the reason of foreigners in participating in Panorama Joseph stated, “In that moment the band is my band, I am a member. If we don’t perform or place well I feel sad and disappointed.” Hannaway stated, “I felt as though the hard work wasn't enough.” Simmons, however, indicated that it is not his place to feel anything. This suggests that foreigners are concerned with the performance in the competition according to their level of comfort and sense of identity within the Steelband; Simmons reported to not having a pleasant experience. The online survey implied that the demand for foreign players is higher in the ANU and SVG steelbands as compared to TT. The population size of the countries may be a prominent factor in this. According to “Current World Population” in the year 2019 ANU had a population 808011754 37 of 96, 134; SVG had one of 110, 589; and TT had 1, 394, 973 citizens. TT has a ratio of 13.25 to 1, on average, between both ANU and SVG. It is logical to hypothesize that TT would have a larger number of steelpan players and therefore may have more skilled players available. Due to this fact the demand for foreign steelpan players in TT is lower as there is an adequate supply of skilled players within its population. Large bands usually have a full complement of players to the point where some players cannot perform for the competition as the maximum limit of players is attained. Due to this reasoning this would suggest why Ash stated the steelband do not contract foreigners; this may also be true for other steelbands in TT however it does not imply that the steelbands in ANU and SVG have a low supply in skilled steelpan musicians in their country. The reason for contracting foreigners is different in each steelband observed in the survey. 808011754 38 Image 3 “Steel Pan, sunset and island with a palm tree painted as one image in multiple colors.” (Shaqq) Chapter Three 808011754 39 Conclusion: Final Thoughts Trinidad and Tobago, St. Vincent and the Grenadines, and Antigua and Barbuda were selected due to the growing popularity of the competition and use of foreigners. The perspectives of local players, foreign players and management committees of steel bands on the culture of contracting players were taken into account. According to the research the steelbands taking part in this competition do have a sizable cost with regards to accommodating foreigners; more so in the cases of ANU and SVG. It can cost upwards of TT$30,000 for 5 persons for 3 weeks stay in ANU or SVG if properly organized exclusive of airfare. It should be noted that not all steelbands in ANU and SVG contract foreign players; this may be due to finances and the organisations’ standpoint on the subject matter. TT does not normally incur these costs as the demand for foreigners is relatively low given the size of the steelpan fraternity; however, there are cases where TT steelbands do in fact cover the full cost (airfare and living accommodations) of contracting foreigners. TT, however, do bare the cost of remuneration of steelpan musicians in most cases. In ANU and SVG there is a higher demand for foreign players as band leaders and committee members believe that their presence will benefit the organisation in the long run; it can be deduced that this is the major difference between the TT steelband and the other two steelbands from ANU and SVG. The benefit is not gained in monetary form but rather in knowledge and experience shared. The research does have major limitations to be addressed. Online surveys were conducted as it was deemed the best way of communicating overseas with other representatives; ANU and SVG. In taking this approach the answers are limited to the questions asked; it does not allow the respondent to add any other comments or experiences that may prove to be useful when a face to face interview is conducted. It is difficult to say whether the questions were fully understood by 808011754 40 the individuals. A question, in the survey, was posed to the steelband committee members contained answers given that were not direct and open for interpretation. Question 7 dealt with the cost of a room for a foreign player. Answers given were not specific to whether it was the overall cost or the per day cost. A follow-up on certain information was necessary for clarification. There was also an error in Question 20 of the questionnaire; “Do you think the band will function the same or better without these foreign players?” Two answers sharing the same meaning are given; “Same” and “No Difference”. There is little information online to the study of Panorama culture with regards to the social and economic variables; historical approaches are more prevalent. In order to gain a better understanding of the dynamics explored in this research, additional research on each country individually would need to be conducted. In this manner a comparison of these components of the Panorama competitions can be analyzed to a greater extent; this includes but not limited to: the design of the competition, expenses of different entities involved, statistical analysis of the social constructs amongst the steelpan fraternity and stages of preparation in this competition. TT has contributed greatly in the steelpan culture and continues to do so with the movement of their musicians between countries; the influence of other cultures on TT is also evident in the growing acceptance of steelpan music. The study showed the economic and social side of contracting foreigners for Panorama. With the cost and benefit analysis done between the expenses incurred through this transaction and the rewards gained; most parties find this contract to be worthwhile. 808011754 41 Works Cited “A Brief History of the Steel Pan.” BBC News, BBC, 24 July 2012, www.bbc.com/news/magazine-18903131. Ash, Marcus. “Panorama Competition- Bands.” Online survey. April 2020. Boundless. “Boundless Sociology.” Lumen, courses.lumenlearning.com/boundless- sociology/chapter/understanding-social-interaction/. Bragg, Steven. “Sunk Cost.” AccountingTools, AccountingTools, 29 Dec. 2018, www.accountingtools.com/articles/what-is-a-sunk-cost.html. Burton, Suzanne L. Engaging Musical Practices: A Sourcebook for Middle School General Music. Lanham, Md: Rowman & Littlefield Education, 2012. Print “CDC Raises Prize Money for Panorama, Ragga Soca.” Searchlight, 1 June 2018, searchlight.vc/searchlight/news/2018/06/01/cdc-raises-prize-money-for-panorama-ragga- soca/. Chappelow, Jim. “Is Economics Really a Dismal Science?” Investopedia, Investopedia, 5 Feb. 2020, www.investopedia.com/terms/e/economics.asp. “Culture.” Steel Island - Culture, 2000, steelisland.com/culture.asp. “Current World Population” Worldometer, www.worldometers.info/world-population/. Dowers, Roddy. “Panorama Competition- Bands.” Online survey. April 2020. 808011754 42 Gordon, Leroy "Jughead". “The Story of Pan in Antigua - UpClose!” When Steel Talks/PanOnTheNet, www.panonthenet.com/history/antigua/the-story-of-pan-in- antigua.htm. Gormandy, Mia K. “Pan in Japan: Cultural Adoption and Adaption of Trinidad and Tobago’s National Instrument.” Dissertation, Florida State University College of Music, 2017. Hannaway, Akeam. Message to Michael Joseph, WhatsApp, 27 April 2020. Haynes, Abigail. “Starlift Steel Orchestra.” NBC SVG, 4 Aug. 2015, www.nbcsvg.com/2015/08/04/starlift-steel-orchestra/. “History.” SteeI Island , 2000, steelisland.com/history.asp. Jarvis, Derel. “Panorama Competition- Bands.” Online survey. April 2020. Jarvis, Derel. Message to Michael Joseph, WhatsApp, 24 April 2020. Johnson, Kim."PAN -- the beating heart of music | Kim Johnson | TEDxPortofSpain." YouTube, uploaded by TEDx Talks, 18 December 2014, https://www.youtube.com/watch?v=rpQvfoILsDI. Joseph, Cathy Ann. “Panorama-Individual.” Personal interview. 24 April 2020. Juice, Trini Jungle. “Trini Jungle Juice: Steel Pan Music :: Panorama :: Trinidad Carnival.” TriniJungleJuice.com, www.trinijunglejuice.com/home/steelpan.php. Michael, Joelle. Message to Michael Joseph, WhatsApp, 24 April 2020. 808011754 43 McLean, Cynthia. “Steel Pan Carnival.” Fineartamerica, 5 Mar. 2011, fineartamerica.com/featured/steel-pan-carnival-cynthia-mclean.html. “National Emblems - Steelpan.” Home - TTConnect, Government of the Republic of Trinidad and Tobago, www.ttconnect.gov.tt/gortt/portal/ttconnect/!ut/p/a1/jdDBCoJAEAbgp_HqjIqR3TxYqUF oVLqX0NhWY90VNe3xM29iWXOb4fvhZ4BABEQkbc6SJpci4e-dLC5- oKPpWgbuA7RQD13NQdM3NqHWg3gEws26B46pbf2TgYj_5fHL2D_zByrgDGSWeT gB05oDmOnhAWFcpsNPYlukxpIBqeiNVrRSH1V_zpqmrFcKKth1ncqkZJyqV1ko- CmSybqBaCyhLI7R072bvN3ZL9sCR6M!/dl5/d5/L2dBISEvZ0FBIS9nQSEh/?WCM_G LOBAL_CONTEXT=/gortt/wcm/connect/GorTT Web Content/ttconnect/home/about+t+and+t/national+emblems/steelpan. “Panorama 2020 Prizes.” When Steel Talks/PanOnTheNet, www.panonthenet.com/tnt/2020/panorama2020-prizes-10-28-2019.htm. “Panorama, The Ultimate Steel Pan (Steel Drum) Competition.” Panorama, The Ultimate Steel Pan (Steel Drum) Competition, www.steelpan-steeldrums- information.com/panorama.html. Pascall, Wayne. “CARIBBEAN SCENES - Steel Band Practice.” Fineartamerica, 26 Jan. 2017, fineartamerica.com/featured/caribbean-scenes-steel-band-practice-wayne-pascall.html. Remy, Jeannine Irene “A historical background of Trinidad and Panorama competitions with an analysis of Ray Holman's 1989 Panorama arrangement of "Life's Too Short".” Dissertation, The University of Arizona, 1991. 808011754 44 Shaqq, Hameed. “Steel Pan, sunset and island with a palm tree painted as one image in multiple colors.” Hameed Shaqq, 2010, https://www.thepanpiper.com/pan-infomation. Simmons, Robert. Message to Michael Joseph, WhatsApp, 25 April 2020. “Steel Drum History (The History of the Steel Pan).” Steel Drum History (The History of the Steel Pan), www.steelpan-steeldrums-information.com/Steel-Drum-History.html. “Steelband Panorama Champions of St. Vincent & Grenadines.” When Steel Talks/PanOnTheNet, www.panonthenet.com/world/caribbean/StVincent/panorama/panorama_champs_history. htm. STUDY.COM, study.com/academy/answer/define-social-aspects.html. “The Story of Steelbands and the Steelband Art Form in St. Vincent - UpClose!” When Steel Talks/PanOnTheNet, www.panonthenet.com/history/st-vincent/the-story-of-pan-in-st- vincent.htm. “Total Steelband Panorama Wins - Trinidad and Tobago.” When Steel Talks/PanOnTheNet, www.panonthenet.com/tnt/hall_of_fame/total_wins.htm. Wehbe, Shada. “5 Important Reasons Why Teamwork Matters.” The Online Learning Platform, 17 Apr. 2018, www.potential.com/articles/5-important-reasons-why-teamwork-matters/. “West Side Symphony Steel Orchestra - History.” When Steel Talks/PanOnTheNet, www.panonthenet.com/history/bands/antigua/west-side-symphony-bio.htm. 808011754 45 Ziegler, Aaron Michael. "Challenging the Trinidad and Tobago panorama construct: an analysis of compositional styles of Ray Holman, Liam Teague, and Andy Narell." DMA (Doctor of Musical Arts) thesis, University of Iowa, 2015. 808011754 46 Appendix A 808011754 47 808011754 48 808011754 49 808011754 50 808011754 51 808011754 52 808011754 53 808011754 54 808011754 55 Results: Questionnaires “Panorama-Competing Internationally and Locally” The first question asked the age range of respondents. According to the results, one participant did not respond to the first question. Out of the two hundred and three respondents, thirty six persons belonged to the Under 18 age range; one hundred and thirty two persons ranged from ages 19-30 years; and thirty five persons belonged to the over 30 category (see Figure below). Age? 140 120 100 80 60 40 20 0 <18 19-30 >30 Age Range Column graph showing the age range of respondents The second question gained 100% responses. The questioned asked participants which country they were from. According to results, 73% of participants are from Trinidad and Tobago; 7% are from St. Vincent and the Grenadines; 7% are from Antigua and Barbuda; and the remaining 13% are selected "Other" (see Figure below). Participants 808011754 56 What country are you from? Trinidad and Tobago St. Vincent and the Grenadines Antigua and Barbuda Other 13% 7% 7% 73% Pie chart showing the percentage of respondents from the listed countries The third question stated “Have you ever participated in the participants Panorama Competition of a foreign country?” According to the results, 44% of the 204 participants have participated in a Panorama Competition of a foreign country, whilst 56% have not (see Figure below). 808011754 57 Have you ever participated in the Panorama Competition of a foreign country? Yes No 44% 56% Doughnut chart showing if respondents participated in the Panorama of a foreign country The next question asked participants to identify which country/countries they have participated in Panorama with. The results show that 149 persons participated in Trinidad and Tobago; 36 persons Participated in St. Vincent and the Grenadines; 37 persons in Antigua and Barbuda and the remaining 73 persons in Other (See Figure below). Which country/countries have you participated in a Panorama competition in? Other Antigua and Barbuda St. Vincent and the Grenadines Trinidad and Tobago 0 20 40 60 80 100 120 140 160 Number of Persons Bar graph showing the number of respondents who participated in the listed Country/Countries Countries 808011754 58 Question 5-18 are geared towards persons who answered “Yes” to Question 3. Therefore 44% (89 respondents) would move on to this section of questions. The fifth question asked about the length of stay within the foreign country. The results showed that 11% of these participants stayed for 1 week; 29% stayed for 2 weeks; 45% stayed for 3 weeks; and 15% stayed for 4 weeks (See Figure below). On average, what is the longest you have stayed in the foreign country? 15% 11% 1 week 2 weeks 29% 3 weeks 45% 4 weeks Pie chart showing the average length of stay in the foreign country The next question asked if participants were given a stipend for their services and what was the range of this stipend in TT$. The results show that 44 persons do not collect a stipend; 5 persons do collect and it is TTT$1000 (See Figure below). 808011754 59 Have you ever collected a stipend for your participation in the Panorama Competition of another country? (If Yes, how much is the stipend?) No 44 Yes >TT$1000 20 Yes. TT$500 to $1000 20 Yes 10 3. Is there a limit to the number of foreign players allowed in the band for the Panorama Competition? if yes, what is the limit? Response: 20% 4. Is there a limit to the number of players allowed in the band for the Panorama Competition? if yes, what is the limit? If no, what is the number of players the band usually performs with? Response: 75 5. What country/countries are these foreign players usually from? Response: Trinidad & Tobago 6. Do you pay for flights of the foreign players? Response: Yes 7. What is the estimated range for the cost of a flight for a foreign player? State currency Response: US$350.00 8. Do you pay for living accommodations for the foreign players? Response: Yes 808011754 78 9. What is the estimated range for the cost of a room and board for a foreign player? State currency Response: US$100.00 10. In terms of meal accommodations, what is your approach towards this with the foreigners? Response: We provide 3 meals 11. Is there an additional registration fee for foreign players in the Panorama Competition? Response: No 12. Is the money earned at the Panorama Competition sufficient enough to cover the cost of accommodating these foreign players? Response: Yes 13. Do you have assistance from a sponsor to cover the cost of accommodating these foreign players? Response: Yes 14. Is it necessary to have assistance from a sponsor to cover the cost of accommodating these foreign players? Response: Yes 15. Does the band have to undergo fund raising measures to cover the costs of accommodating these foreign players? Response: Yes 16. Do you believe these foreign players improve the overall performance of the band? Response: Yes 808011754 79 17. Do you think the band will still function at the same level without these foreign players? Response: No 18. Are the foreign players required to sign any contracts? Response: No 19. In your experience, on a scale from 1 to 5, How well do the foreign players interact with the local players of the band? Response: 5 20. Do you provide accommodations/meals/transport for your local players during the panorama season? Response: Yes 21. If you contract foreign players, how do you choose which player to bring to your country? Response: From observation and Reference 22. Do you expect the foreign players to do more in the preparation of Panorama rather than just play their instrument? Please give detail Response: Assist in distributing music 23. What are the main reasons for contracting foreigners to perform in your band? Response: To have our local players exposed to a higher level 24. What would be the consequences for a foreign player if he/she does not perform well with regards to practice before Panorama? (The foreigner is not able to perform the music) And, does the band still incur the cost of accommodating this player? 808011754 80 Response: No immediate consequence but the player would not be contacted again 25. Do you believe that the value the foreign players bring to the organization exceed the overall cost of accommodating them? Please explain Response: No because it improves the band in the long run 26. Do you believe the local players are in agreement with the bands decision to bring foreigners for the Panorama competition? Response: Yes 27. Would you continue to contract foreign players? why? Response: Yes because it has served the purpose to date 808011754 81 From the TT Steelband, Silver Stars Steel Orchestra , Marcus Ash; the results are as followed: 1. Which country are you from? Response: Trinidad and Tobago 2. What was the most number of foreigners you had in your band for a Panorama competition? Response: >10 3. Is there a limit to the number of foreign players allowed in the band for the Panorama Competition? if yes, what is the limit? Response: 20% 4. Is there a limit to the number of players allowed in the band for the Panorama Competition? if yes, what is the limit? If no, what is the number of players the band usually performs with? Response: 125 5. What country/countries are these foreign players usually from? Response: U.S.A, Belize, St. Lucia, England, Japan 6. Do you pay for flights of the foreign players? Response: No 7. What is the estimated range for the cost of a flight for a foreign player? State currency Response: I don’t know 8. Do you pay for living accommodations for the foreign players? Response: No 808011754 82 9. What is the estimated range for the cost of a room and board for a foreign player? State currency Response: $1000.00 U.S per month but they split it 10. In terms of meal accommodations, what is your approach towards this with the foreigners? Response: They provide their own 11. Is there an additional registration fee for foreign players in the Panorama Competition? Response: No 12. Is the money earned at the Panorama Competition sufficient enough to cover the cost of accommodating these foreign players? Response: No 13. Do you have assistance from a sponsor to cover the cost of accommodating these foreign players? Response: No 14. Is it necessary to have assistance from a sponsor to cover the cost of accommodating these foreign players? Response: No 15. Does the band have to undergo fund raising measures to cover the costs of accommodating these foreign players? Response: No 16. Do you believe these foreign players improve the overall performance of the band? Response: No 808011754 83 17. Do you think the band will still function at the same level without these foreign players? Response: Yes 18. Are the foreign players required to sign any contracts? Response: No 19. In your experience, on a scale from 1 to 5, How well do the foreign players interact with the local players of the band? Response: 4 20. Do you provide accommodations/meals/transport for your local players during the panorama season? Response: No 21. If you contract foreign players, how do you choose which player to bring to your country? Response: They come on their own 22. Do you expect the foreign players to do more in the preparation of Panorama rather than just play their instrument? Please give detail Response: No 23. What are the main reasons for contracting foreigners to perform in your band? Response: They are interested so we allow them 24. What would be the consequences for a foreign player if he/she does not perform well with regards to practice before Panorama? (The foreigner is not able to perform the music) And, does the band still incur the cost of accommodating this player? Response: They are dropped 808011754 84 25. Do you believe that the value the foreign players bring to the organization exceed the overall cost of accommodating them? Please explain Response: No. Because they pay for their own expenses 26. Do you believe the local players are in agreement with the bands decision to bring foreigners for the Panorama competition? Response: Yes 27. Would you continue to contract foreign players? why? Response: Yes. There is no expense to the band besides the payment for playing at the end just like the local players 808011754 85 Appendix C Interview: Panorama-Individual Name: Date of Birth: Education : - Primary school: - Secondary school: - Tertiary level: Personal Information - How long have you been playing steelpan? How long have you been travelling? Where have you travelled to as a result of playing steelpan? Response: Panorama Questions: 1) How did you get started in travelling to St. Vincent and Antigua for Panorama? 2) What are your personal reasons for going to another country for Panorama? 3) Please share your experience with living conditions. How does this occur in Antigua and St. Vincent? 4) How do the bands handle food and meals? How much do you think they spend on you or the group of foreigners? 5) If the treatment (accommodations) you are receiving is unsatisfactory, what do you do? 808011754 86 6) Do you think you should help the band in other aspects of Panorama other than just playing your instrument? (E.g teaching other players, cleaning of instruments) 7) Do you think the band should provide other activities for you to do? (carnival fetes, beach days, tours) 8) In a scenario where you learn the Panorama tune to a level that you deem satisfactory or as good as the other players in the band, do you think that you should still attend practice on a regular basis? Why? 9) Do you think you are a “better player” than local persons in the band? 10) Do you feel welcomed by the players of the country? Have you ever felt a sense of “not- belonging” or “outsider” in the panyard? 11) Are there any cultural differences you have noticed between the panorama competitions (TT, ANU, SVG)? 12) If the band does not perform well, how do you feel? 808011754 87 Results: Interview: “Panorama-Individual” th The interview was conducted on April 24 2020 1:00p.m at the resident of Cathy Ann Joseph San Fernando, Trinidad. Name: Cathy Ann Joseph th Date of Birth: 10 February 1992 Education : - Primary school: St. Pauls Anglican School - Secondary school: San Fernando West Secondary - Tertiary level: BSc Business Management,School of Accounting and Management Personal Information - How long have you been playing steelpan? How long have you been travelling? Where have you travelled to as a result of playing steelpan? Response: I started playing pan when I entered secondary school in 2003. I was eleven so that would make it seventeen years that I have been playing pan. I started to travelling to play pan three years ago, 2017. I have been given the opportunity to travel to three countries; Antigua & Barbuda, St. Vincent & the Grenadines as well as St. Kitts & Nevis. 808011754 88 Panorama Interview Questions: 13) How did you get started in travelling to St. Vincent and Antigua for Panorama? Response: Well for St. Vincent you could say I had a link. I knew the arranger pretty well. The band would usually bring across players from Trinidad and they had their usual picks. However, that year I expressed my interest and he agreed to have my name be on the list. Whereas for Antigua, at that point in time the band that I belonged to or was a member of got an invitation from a band in Antigua. They wanted 10 skilled players who could learn their music in a short space of time and also execute. They also required that the players be able to play front line pans, like tenor and double seconds. The captain of my band came to me and let me know that he wanted me to be a part of this team or group of player they were going to put together and that’s it. I was going Antigua. 14) What are your personal reasons for going to another country for Panorama? Response: I love playing pan and I have always wanted to travel. My dream in life has always been to travel the world and experience new adventures, meet new people, learn about different cultures, cuisines, the list goes on. Traveling to another country for their Panorama just made that dream come to reality. I get to travel while doing something I love. 808011754 89 15) Please share your experience with living conditions. How does this occur in Antigua and St. Vincent? Response: Well for St. Vincent they took great care of us. They had us at a guest houses and everything was catered to in terms of groceries and whatever necessities we needed. Antigua, I actually played for two different bands in Antigua. The first band I played for they housed us at a military based. It was nice. Everyone had their own room with blasting AC. There was a small fridge, a microwave and toilet and bath. And some rooms had those old time TV’s with one station. The second band had us in a guesthouse. Six people, three bedroom and two toilet and baths, so some sharing had to take place. 16) How do the bands handle food and meals? How much do you think they spend on you or the group of foreigners? Response: In St. Vincent it was beautiful. They bought us whatever groceries and necessities we needed. We were provided with lunch or lunch money to buy whatever we liked or wanted. Then after practice we got dinner. So I would say they spent a lot. Groceries amounted to approximately $3000EC or more cause sometimes things would run out, then $50EC a day per player for lunch and then dinner which I think amounted to at least $30EC per person. They had an average of 8 players, so you do the math. 808011754 90 In Antigua the first band I had access to free breakfast on the base which started 7am. However, that was tricky cause is military men and they does eat so it used to finish quick and most days I woke up late due to late practice sessions and liming with my friends who I went with. The band provided us with home cooked lunch and then a light meal at night such as, hotdog or fry bake and chicken. They didn’t provide any groceries or money, anything extra we had to buy with our own money. The second band I played with, their approach was more towards what I got in St. Vincent. They provided us with groceries which amounted to about $5000EC and a little more when things ran out. We had to cook our own breakfast and lunch which is why groceries was more. Then during practice we got light refreshments and sometimes food. It varied. There were 7 players and each person was given $200EC as dust money they would say. A little spending money for anything extra we desired. 17) If the treatment (accommodations) you are receiving is unsatisfactory, what do you do? Response: For both St. Vincent and Antigua, if we had any issues we were comfortable to address it with management. Which was rare, but if it occurred they would listen to us and try to make the necessary adjustments. For example, in Antigua the internet box that the house had kept dropping and we couldn’t get to use it. So management made arrangement to get a better router or box. 808011754 91 18) Do you think you should help the band in other aspects of Panorama other than just playing your instrument? (E.g teaching other players, cleaning of instruments) Response: Ideally I would just like to go learn the music, perform and relax the rest of the time. However, I do find myself helping because you become close to the people in the band and in that feel like a part of the band. So if there is someone in my section that needed music that I had, I would teach them. That is not a problem for me. In terms of cleaning pans, I would honestly make sure my pan is seen about and if the band asks me to help I would, if not I wouldn’t. For example in St. Vincent I only need to see about my pan, whereas in Antigua I helped out with the loading of pans because in that band it was asked of me to. 19) Do you think the band should provide other activities for you to do? (carnival fetes, beach days, tours) Response: Beach days for sure yes. I think the band should at least want their visitors to see a piece of their country other than the panyard and panorama stage. Whereas carnival fetes, I don’t think so. If you want to party and fete spend your own money. The band is already paying for so much as is. In St. Vincent the band manager actually organizes a beach day and carnival fete tickets for us. Whereas, in Antigua the players in the band actually carried the visitors to the beach, not management. 808011754 92 20) In a scenario where you learn the Panorama tune to a level that you deem satisfactory or as good as the other players in the band, do you think that you should still attend practice on a regular basis? Why? Response: Yes, attending practice is a must. The main purpose of bringing players is to have them in the band at rehearsal. I would usually be in the country for 2 to 3 weeks before competition day and I rd th would have the song confidently by the 3 or 4 day. After that I would still go practice regularly. At the time they called rehearsal or transportation pick up time I would be ready. We as visitors have the entire day to do as we please and all the band expects in return is your attendance at practice which I believe is not too much to ask. 21) Do you think you are a “better player” than local persons in the band? Response: I have met players that I am less skilled than and vice versa. So no I don’t think I am better than all just some because I know I am a strong player. 22) Do you feel welcomed by the players of the country? Have you ever felt a sense of “not- belonging” or “outsider” in the panyard? Response: 808011754 93 When you first enter the band everyone’s eyes are on you. Everyone knows you’re not from there and it’s a sense of curiosity as to who you are. The first day is always awkward but then you’re introduced and you start talking to players in the band and they are so welcoming and interested in learning about you. A lot of players I now refer to a ‘sis’ and ‘bro’. It’s always a great experience 23) Are there any cultural differences you have noticed between the panorama competitions (TT, ANU, SVG)? Response: Not really, I think it’s basically the same format. I believe that the other countries try to mimic Trinidad’s way of doing things. 24) If the band does not perform well, how do you feel? Response: In that moment the band is my band, I am a member. If we don’t perform or place well I feel sad and disappointed. 13. Do you stay for the carnival in the country? Did the band still take care of you during this period? 808011754 94 Response: I have stayed for the carnival. The band actually booked the ticket dates like that so that I could experience their carnival. Go on the road and see the different bands and how they fete. Before booking they always ask what dates you are comfortable with and they give the option to stay for carnival or leave earlier as in the day after panorama. Whatever accommodations they provided before panorama is continued until I leave. 808011754 95 Emailed interview 808011754 96 808011754 97 808011754 98 808011754 99 808011754 100 Responses 808011754 101 808011754 102 808011754 103 808011754 104 808011754 105 808011754 106 808011754 107 Additional Information was provided by Joelle Michael. She in an ANU national and is currently pursuing a BA Music at UWI. St. Augustine. She is a steelpan player and member of Hells Gate Steel Orchestra ANU.