Parang is a treasured part of Trinidad and Tobago’s cultural heritage, but as the artform evolves, questions remain about preserving its traditional sound while embracing new influences.
A recent discussion explored the history of parang’s lead instruments and the importance of keeping the tradition alive for future generations.
Hosted by the National Parang Association of Trinidad and Tobago and held at the Port of Spain Library, the discussion focused on the lead instruments traditionally used in parang music and their role in preserving and evolving the genre.
Revisiting the art form’s early beginnings were stalwart parranderro Peter Waterman and poet, playwright, and cultural activist Pearl Eintou Springer, who gave a brief history of the origins of prominent instruments used in parang.
“A lot of the instruments used in the parang came with the Spaniards but did not necessarily have Spanish roots. Some of them have roots in other European countries or derived from the Moorish invasion of Spain. We have created the indigenous box base for that heavy drum-like sound. To my mind, it is clear that the invention of the box base was meant to simulate the drum, which was banned legally from 1884, and that ban was only lifted in the year 2000.”
The need to preserve the art form while incorporating new instruments, like the steelpan, was also a key focus of the discussion.
Musical director Mikhel Carter noted that diversity can strengthen authentic parang music.
“One of the things I believe is that we could coexist, and what Mr Bertrum was talking about in that parang orchestra. In that orchestra, we had almost every instrument that belonged in parang history over the years, and there is a mandolin, there’s a lead guitar, and there are two tenor pan players, so how we structure this music and how we look at it is you don’t allow any instrument to dominate the other; they work together. So one person will play the lead in the verse, in the introduction, chorus, and we arrange this thing so that it does not lose the essence of parang music.”
Also sharing that belief was pannist Emmanuel Joseph, who explored how the instruments can be used.
The discussion ended with a call for parang to be included in the national school syllabus, with advocates arguing that this would help preserve the nation’s rich cultural heritage and ensure the art form is celebrated throughout the year.