IT IS EASY, too easy, especially for armchair critics, to look at the recent output of calypsonians and dismiss the art form. After all, who can forget the countless glorious moments on the Dimanche Gras stage over the years when calypso was in its heyday? When we think of “calypso” we think of the sheer
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Audiences destroy singers
Part 6
IN a Carnival partly defined by virtual calypso shows, it’s difficult to picture just how much of a role audiences have played in the history of calypso. An enthusiastic crowd calling for encores can boost a calypsonian’s popularity, but audiences have also been known to destroy a calypsonian’s season and even damage a calypsonian’s reputation.
“I remember when I was a student going home to Guyana from UWI in Mona, I stopped off in Trinidad in 1968 and went to a calypso tent in the Palladium,” says calypso expert and former UWI English professor Dr Gordon Rohlehr.
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No to racism
DR ERROL N BENJAMIN
THE FOOTBALL ad in the English Premier League against racism as the most flagrant form of domination/discrimination of one group over another is as poignant as taking the knee, “say no to racism” and the like.
But to the insightful, such rhetoric is so much at variance with the reality.
For, from the beginning, the idea of “difference” has been central to nature of which we as humans are a part.
The birds and the bees gravitate towards their own groups as much as the dolphins and the rays in the ocean, and trees naturally huddle with their own kind, pines together in northern climes and the heavy deciduous similarly so in the tropics.
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