What is the "Bomb" in Trinidad Traditions?
The “Bomb,” was a steel pan competition that was very popular during the 1950s to 1960s. The competition has now diminished and there are some resources that describe the “bomb” as a classification of steel pan genre. In chapter five of Shannon Dudley’s book, Carnival Music in Trinidad, he explains “[the] Bomb grew out of musical rivalries in which steelbands attempted to outdo one another with performances of foreign songs set in calypso rhythm” (pg 78). Steelbands would play a lot of Latin music, but later they began to adapt classical music. There were some controversies regarding adapting classical music to calypso music during this time. Calypso music tends to be in duple meter, but there were some pieces that were in triple meter and steelbands would transpose those triple meter pieces into duple meter to get that calypso feel. Some thought that this action was ridiculing the original composer or there were comments that this was not “Trinidadian” and that it did not fit the cultural aspect of Carnival. The tradition of the Bomb integrating classical foreign music with calypso shaped steelband repertoire and how people viewed Panorama and other steelband competitions that formed in the 1960's.
The “bomb” origins are reflected the performance of the steel drums during carnival. Fierce competition led to the excellence of the players and acceleration of steel pans as a national instrument for Trinidad and Tobago rather than just an outlet for national music. The bomb — which allowed for the more competitive players to show off their skills — created a safe outlet for Trinidadians to compete. Time consuming as it is, “bomb” players have to secretly practice to create a “WOW” factor for the audience. Pieces must be recognizable, which is of course an important feature not to be forgotten, because it is basis for the fierce competition. If a song is not recognizable, it has less of an impact for the listener. In the beginning, classical pieces allowed for the audiences to be amazed at what may be called the complexity of these “bomb” works. In its heyday, the “bomb” would take these pieces so they could be danced to instead of the European way where a performance was in large sitting only venues.
In an essay by Shannon Dudley entitled “Creativity and Politics in the Steelband Music of Ray Holman, 1959 — 1972”, he quotes Ray Holman on the important role of danceability. Holman states that "There was a great respect for classical music. So if a band play that in the road, it used to sound nice. You know this tune, and you could dance to it; because in the Queens Hall you can't dance to it. So the same nice tune, the same nice melody and chords, you're getting it that you could dance. And Trinidadians love to dance. So it was more appreciated.” American jazz tunes could be included in this too not just of the classical variety. Songs like Nat “King” Cole’s “Unforgettable” are even played. Here below is an example.
The “bomb” allowed for musical competitiveness to become a huge part of Trinidad’s Carnival season. Players could and still do use the historic need to fight for what is theirs. From the long fight for independence to the stiff competition is ‘bomb’ performances, the spirit of Trinidadians is reflected in each pieces rendition of a tune.
The fierceness of the Bomb inspired a competition rife with cunning and surprise. The transformations of classical music into the calypso style for the road in attempts to upstage the next band on Carnival Monday grew out of musical rivalries between steelbands. Much like those rivalries that fueled warriors like Fisheye, a character from Earl Lovelace’s The Dragon Can’t Dance, these competitions were incendiary and there were many opportunities for sabotage and combat between nemeses. To prevent this and therefore evoke greater awe and surprise on the road, bands would rehearse in secret. Fisheye was always looking for a fight, and was only in a band because it sated his appetite for combat. He desired to feel like a warrior, a gladiator, a champion against an enemy band. In a similar way, steelbands would work to drop the greatest bomb and would only rehearse privately and competitively to feel as the superior band the moment their bomb was better than their rival’s. The sparring of a steelband battle is like the dropping of a bomb on Monday. Philo, too, would write down his thoughts for his calypsos in order to gain the upper hand when he performed. If he could inspire greater awe and surprise than his competitors than he would feel superior, as if he had just dropped a bomb himself.
Credits
Jonna
- Proofreading
- Build Blog
Chase
- Bibliography
- What does it mean? Why do we care?
Kailee
- What is it? History?
Darek
- Tie To the novel
- What would the characters think/feel about “The Bomb”
Sources
Dudley, Shannon. Carnival Music in Trinidad: Experiencing Music, Expressing Culture. New York: Oxford UP, 2004.
Dudley, Shannon. "Creativity and Politics in the Steelband Music of Ray Holman, 1959 — 1972." Ed. Phillip P. Scher. Trinidad Carnival: The Cultural Politics of a Transnational Festival. Ed. Garth L. Green. Bloomington: Indiana UP, 2007. 161-77.
Lovelace, Earl. The Dragon Can't Dance: A Novel. New York: Persea, 1998.
Noel4729. "Island Rhythms Steel Drum & Calypso Band. Performing Beethoven's Fur Elise." YouTube. YouTube, 26 June 2014. Web. 06 Nov. 2016.
Panoridim. "Unforgettable [Bomb Style Steelpan Cover]." YouTube. YouTube, 24 Jan. 2009. Web. 06 Nov. 2016.
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