This article presents an account of the pan-round-neck tradition in UK carnivals based on the views of the supporters of this art form. It focuses largely on the Notting Hill carnival, and the experiences of young people who are themselves pan players in Nostalgia Steelband. The performers account a pattern of the collective experiences of past and present practices and the journey this traditional pan-round-neck (referred to as 'pan-round'neck' in Trinidad) steelband has made. The story is hardly new, but it provides important further evidence of the contribution that this genre makes - through ethnographic narrative - to the carnival culture.

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Pan-round-neck

Introduction; 'Pan-round-neck':

The replacement of the traditional tamboo bamboo and other percussion instruments by steelpans in Trinidad carnivals during the 1940s was due in part to the durability and mobility of the instruments. All steelpans, from a tenor (soprano) to a low base drum, were carried around the neck of the musician during the two-day carnival pageant. In the ensuing decades, as the repertoire expanded and new boundaries were explored, each specialised pan grew into multiple pans to accommodate the vast range of notes now demanded on the tuners. The steelband grew into an orchestra spanning more than 10 octaves from the tenor pan to the 6 and later 12 pan-base sets. By the late 1950s, the pan-round-neck* tradition gave way to a highly complex racking system to facilitate the ever increasing number of pans now played by each panist. This was later followed by movement to the 'big truck', now common place at carnivals globally. The outcome is not only a distancing of the musicians from the street participants but also the replacement of traditional steelpans by powerful sound systems; the latter being cheaper, simpler and louder and driven by commercial interest. However, the pan-round-neck tradition has doggedly survived the years outside Trinidad in relatively modest but discernible pockets in England, Switzerland, Germany and now spreading to the Far East.

*A steelpan cannot sit directly on the floor but must be suspended to prevent the sound being dampened. Hence the first steelband players carried their steelpans strapped around their necks. Nearly all current bands hang their steelpans on metal racks for performances. For events such as carnivals, they are carried on trucks or floats.

Since its inception Nostalgia Steelband has never deviated from its responsibility to persevere with this tradition; playing at many varied events throughout the UK and Europe, actively teaching and developing programmes in numerous schools and universities, helping to start up new steelbands, holding workshops to promote this art form and organising and participating in steelband conferences. In 2009, Nostalgia had a membership of over 50 steel pan players, representing the major cultures in Inner London. Information on dedicated pan-round-neck steelbands are poorly documented and difficult to delineate from 'hybrid', 'single pan bands' or even conventional steelbands.

Nostalgia and its Impact on 'pan-round-neck'

Nostalgia Steelband's roots date back to 1951 when its eminent founders, Sterling Betancourt and Russell Henderson arrived in England with 10 other members of the legendary TASPO (Trinidad All Steel Percussion Orchestra) to play at the 'Festival of Britain'. Following their return, Sterling and Russell stayed back in England and in 1952 made their first recording and then went on to form the 'Russell Henderson Steelband'; the first home grown steelband in Britain. They played at numerous venues and appeared on radio and television. In 1963, they played for a Children's Neighbourhood Carnival in London's Notting Hill area and did so as a 'pan-round-neck' band. During the party, they drifted onto the streets of Notting Hill. Some spectators joined the procession while others gasped at this 'audacious act' which they assumed was a political demonstration. This was the birth of the world renowned Notting Hill carnival and some of the musicians who took part in this event went on to become famous bandleaders and arrangers of several new bands. The Russell Henderson band subsequently changed its name twice before the name 'Nostalgia Steelband' was proposed by Philmore Davidson in 1969.

For over 50 years, Nostalgia's members have almost single-handedly promoted and maintained the pan-round-neck tradition in England despite the immense logistical problems. For example, the notes of each steelpan must be condensed onto a single pan for mobility while still retaining the high quality, purity, rich tones and colourful rhythms that are now expected of steelbands (Dennis 1971; Imbert 1977; Copeland 1995). The key element of pan-round-neck is the freedom and mobility given to the panists. This in turn enables pan playing to be more visible and accessible during street carnivals; breaking down the mystery and, allowing audiences to intermingle and freely participate. Nostalgia is therefore called upon to perform at a variety of events. For example, a poignant moment was the wild excitement created in the closing hours 1999, when the mobility of pan-round-neck steelband music enabled the huge enthusiastic crowds to join in a carnival procession along London's Embankment. Nostalgia later went on to usher in the millennium at the opening of the celebrated Millennium Dome in Greenwich, London.

Sowing the Seeds of the 'Pan-round-neck' tradition in the UK

"Steelband music is today used all over the world to bring better cultural understanding and appreciation of music" (Wilkins and Rose 2006, Stuempfle, 1995). Since the majority of Nostalgia's current members are school and university teachers, the band has been instrumental also in promoting many cultural and academic activities and organised the first steelband conference in Europe in 2006. Members have held on steadfastly to the 'pan-round-neck' tradition and have taken this method of playing into many London schools. One of the most successful of these is at the Performance Arts and Media Centre in west London. This is a joint venture driven by the author Marvin Barbe (with assistance from Olivia Raven and Ivan Gonzalez), and led to the establishment of The Paddington Arts Youth Steelband. Nostalgia provides the musical instruments and tuition to Paddington Arts voluntarily while the students in turn join Nostalgia for pan-round-neck performances. In another project, Christine Davis is leading the introduction of pan-round-neck at Hay Lane School (north London); a school with children with severe disabilities. Nostalgia Steelband has made an immense contribution to the musical life of this school by providing steelpans, tuition and joint performances.

A parallel study at Rokesly Infants School by Hazel Joseph has resulted in structured programmes that adhere closely to the Government's Department of Education's National Curriculum guidelines which are laid down in sequential 'Key Stages' (QCA 1999, 2000, McCalman, 2003). Olivia Raven is a full-time music teacher at the Chiswick Community School, but also teaches steelpan using a mixture of conventional and traditional steelpan methods from junior to senior levels. Progress has been rapid and concerts, assemblies and various events both within and outside the school stimulate interest and leads to pupils joining Nostalgia and other steelbands. Projects in south London by Adriana Flórez helps children to develop musicianship using the Kodaly method while Raul Gomez, a peripatetic music teacher (and arranger for Nostalgia) also runs a large number of steelpan workshops and community projects in several South London schools. As a formally trained drummer and percussionist his method of teaching has a strong rhythmic and harmonic focus. Many tutors including some of Nostalgia's teachers, whose roots are not linked to the Caribbean, inevitable introduce their own cultural influences which help to shape the style and diversity of each steelband. Nostalgia members have tutored and made its steelpans available to the Shern Hall Youth Gospel Choir. The result has been a rapid development of Shern Hall Methodist Youth Steelband which performs as pan-round-neck' both independently and together with Nostalgia

The development of established steelbands in London is therefore derived from the conscientious and pioneering work undertaken in various schools in London (La Rose and McCalman, 2003). This is an immense resource which this art form must nurture and strive to continually improve. Notwithstanding the many varied methods employed by tutors, steelbands continue to grow and are represented at all major cultural events in modern British life. In less than 60 years this incredible instrument has permeated the fabric of this society and is now an essential part of the cultural heritage of London.

Pan Round Neck - UK Carnivals continued - 1 2 3 Reference