Steelpan, Diasporas, Types of 'Play'

This weeks article focuses on the steel pan and the Caribbean and West Indian diasporas throughout the world.  One of the authors, Dudley, tells us about the Carnival festival that is very prominent in these cultures, specifically in Trinidad and Tobago, and how its appeal has grown throughout the world.  One of the articles, by Walrond ,discusses the importance of trying to understand the social impact of the Carnival, and how it can also play the role of a “safety valve” to protect the status quo, as the writer calls it.  The author does and excellent job in questioning whether the freedom and rejoicing can actually be beneficial to the diasporas in creating significant changes and progression towards the communities overall development.  Then we also contrast between seriousness and ‘play’, in relation to Trinidadian steel pan players and the way it was at one point looked at as not being serious enough or relevant.  There was a gradual shifting of boundaries, and the perception of the steel pan as a simple instrument became a widespread way of elevating the user experience and combining all levels of society to play a role in building the community through creative and strategic ways.

            Later, we discuss the ideological differences between the different forms of play, and how governmental ‘play’ and citizen-level play may differ because they are perceived as ‘serious’ or ‘frivolous’ play types.  When it comes to politics and governmental bodies using play, Dudley raises a great point about how there are always agendas that can be aided by the tactical use of play.  So we can question, is that type of play really considered as play, if the governing body predetermines things?  The steelbands began as a form of self-expression of people who did not have power in the political sense, but through the use of Carnival, gathered immense integration and consolidation of different levels of society, communities, and musicians.  In a cross-border diasporic sense, steel pans and the thrilling preparations, costume designs, and other activities of the Carnival act as a way of giving people around the world a sense of home and yearning.  The sights and sounds that resemble the Carnival in Trinidad provides a real life example of diasporic communities that can congregate together in the masses to awaken one of the liveliest festivities within the community.   Again from the reading, do we question the role of the event and how play has gone from its initial understanding, to what is considered as ‘play’ that is significant and needed.  It’s interesting to try and understand the different types of play, because it is something so simple and overlooked because we never really try to understand that play is something we will do naturally, but can be crafted and controlled by those in power, if needed.

Question #1: The next time you play something, whether it’s an instrument or a game, will you stop to think about why you are playing it? Is it really relevant/important? Can you do it as a career?

Question #2: How do you think Toronto’s annual Caribana resembles the Trinidadian Carnival in the sense of ‘play’?  Also, what does the Caribana say about Toronto (Canada) to the international world, or what message do you think is trying to be sent by the citizens and the government?