|Stylistic origins||West African Kaiso and canboulay music|
|Cultural origins||Trinidad and Tobago|
|Typical instruments||Trumpet, trombone, flute, clarinet, saxophone, Spanish guitar, bass guitar, congas, bongos, steelpan, violin, bamboo sticks, glass bottle/spoon, claves, maracas, cuatro, concertina, jawbone|
|Derivative forms||Soca and Palm-wine music|
|Oratorical calypso • Extempo • Shouter calypso • Benna • Mento
|Chutney • Chut-kai-pang • Rapso • Soca • Gospelypso • Cadence-lypso • Ska • spouge • Reggae|
|Anguilla • Antigua and Barbuda • Colombia • Puerto Rico • Aruba • Panama • Barbados • Costa Rica • Grenada • Dominica • Jamaica • Saint Kitts and Nevis • Virgin Islands • Venezuela|
|Carnival • Calypsonian • Calypso-like genres • Calypso tent • Picong • Shango • Obeah • Calypso de El Callao|
|Music of Trinidad and Tobago|
|Media and performance|
|Nationalistic and patriotic songs|
|National anthem||Forged from the Love of Liberty|
Calypso is a style of Afro-Caribbean music that originated in Trinidad and Tobago during the early to mid 20th century. Its rhythms can be traced back to West African Kaiso and the arrival of French planters and their slaves from the French Antilles in the 1600s. The music, which drew upon African and French influences, became the voice of the people, and was characterized by highly rhythmic and harmonic vocals, which was most often sung in a French creole and led by a griot. As calypso developed, the role of the griot (originally a similar traveling musician in West Africa) became known as a chantuelle and eventually, calypsonian.
As English replaced patois (creole French) as the dominant language, calypso migrated into English, and in so doing it attracted more attention from the government. It allowed the masses to challenge the doings of the unelected Governor and Legislative Council, and the elected town councils of Port of Spain and San Fernando. Calypso continued to play an important role in political expression, and also served to document the history of Trinidad and Tobago. While most authorities stress the African roots of calypso, in his 1986 book, Calypso from France to Trinidad: 800 Years of History, a veteran calypsonian, The Roaring Lion (Rafael de Leon) asserted that calypso descends from the music of the medieval French troubadours.
Calypso in the Caribbean includes a range of genres, including: the Benna genre of Antiguan and Barbudan music; Mento, a style of Jamaican folk music that greatly influenced ska and reggae; Ska, the precursor to rocksteady and reggae; Spouge, a style of Barbadian popular music; Cadence-lypso, which mixed calypso with the cadence rampa of Haiti and Dominican traditional music; and soca music, a style of Kaiso/calypso, with influences from Cadence-lypso, Soul, and Funk.
The Cedula of Population of 1783 laid the foundation and growth of the population of Trinidad. The Spanish who were in possession of the island, contributed little towards advancements, with El Dorado the focus, Trinidad was perfect due to its geographical location. French planters with their slaves, free coloreds and mulattos from neighboring islands of Saint Vincent and the Grenadines, Grenada, Guadeloupe, Martinique and Dominica migrated to the Trinidad during the French Revolution. The Spanish also gave many incentives to lure settlers to the island, including exemption from taxes for ten years and land grants in accordance to the terms set out in the Cedula. These new immigrants establishing local communities of Blanchisseuse, Champs Fleurs, Cascade, Carenage and Laventille. Trinidad's population jumped to over 15,000 by the end of 1789, from just under 1,400 in 1777. In 1797, Trinidad became a British crown colony, with a French-speaking population. This exodus was encouraged due to the French Revolution.
The French Revolution (1789) had an impact on Trinidad's culture, as it resulted in the emigration of Martinique planters and their French creole slaves to Trinidad where they established an agriculture-based economy (sugar and cocoa) for the island. Carnival had arrived with the French, indentured laborers and the slaves, who could not take part in Carnival, formed their own, parallel celebration called Canboulay. Canboulay (from the French cannes brulées, meaning burnt cane) is a precursor to Trinidad and Tobago Carnival, and has played an important role in the development of the music of Trinidad and Tobago.
The festival is also where calypso music had taken its roots through the chantwells who sang songs called kaiso. Kaiso seem to have been perfected by the (mostly female) chantwells during the first half of the nineteenth century. The chantwells, assisted by belair (bélé) drums and alternating in call-and-response style with a chorus, were a central component of the practice called calinda (stick-fighting).
Calinda and African percussion music were banned in 1881 from Trinidad Carnival, in response to the Canboulay Riots. They were replaced by bamboo "tamboo-bamboo" sticks beaten together, which were themselves banned in turn. In 1937 they reappeared, transformed as an orchestra of frying pans, dustbin lids and oil drums. These steelpans or simply "pans" (also called steel drums) are now a major part of the Trinidadian music scene and are a popular section of the Canboulay music contests. In 1941, the United States Navy arrived on Trinidad, and the pannists helped to popularize steelpan music among soldiers, which began its international popularization.
Beginning in 1845, major influxes of indentured immigrants from India and other parts of the world dramatically changed the ethnic composition of the islands. These indentured servants brought their own folk music, primarily from Uttar Pradesh and Bihar, to the creole mix, resulting in chutney music. In addition to Indians, Syrians, Portuguese, Chinese and Africans came to the islands in waves between 1845 and 1917, and even after.
It is thought that the name "calypso" was originally "kaiso," which is now believed to come from Efik "ka isu" 'go on!' and Ibibio "kaa iso" 'continue, go on,' used in urging someone on or in backing a contestant. There is also a Trinidadian term, "cariso" which is used to refer to "old-time" calypsos. The term "calypso" is recorded from the 1930s onwards. Alternatively, the insert for "The Rough Guide to Calypso and Soca" (published by World Music Network) favours John Cowley's arguments in "Carnival, Canboulay and Calypso: Traditions in the Making"; that the word might be a corruption of the French Carrouseaux and through the process of patois and Anglicization became caliso and then finally "Calypso". Alternatively, they also say that the first mention of the world 'Calypso' is given in a description of a dance in 1892 by Abbé Masse.
Calypso music was developed in Trinidad in the 17th century from the West African Kaiso and canboulay music brought by African slaves imported to that Caribbean island to work on sugar plantations. These slaves, brought to toil on sugar plantations, were stripped of all connections to their homeland and family and not allowed to talk to each other. They used calypso to mock the slave masters and to communicate with each other. Many early calypsos were sung in French Creole by an individual called a griot. As calypso developed, the role of the griot (originally a similar traveling musician in West Africa) became known as a chantuelle and eventually, calypsonian.
Modern calypso, however, began in the 19th century, a fusion of disparate elements ranging from the masquerade song lavway, French Creole belair and the calinda stick-fighting chantwell. Calypso's early rise was closely connected with the adoption of Carnival by Trinidadian slaves, including canboulay drumming and the music masquerade processions. The French brought Carnival to Trinidad, and calypso competitions at Carnival grew in popularity, especially after the abolition of slavery in 1834.
The first identifiably calypso genre song was recorded in 1912, by Lovey's String Band while visiting New York City. In 1914, the second calypso song was recorded, this time in Trinidad, by chantwell Julian Whiterose, better known as the Iron Duke and famous calinda stick-fighter. Jules Sims would also record vocal calypsos. The majority of these calypsos of the World War I era were instrumentals by Lovey and Lionel Belasco. Perhaps due to the constraints of the wartime economy, no recordings of note were produced until the late 1920s and early 1930s, when the "golden era" of calypso would cement the style, form, and phrasing of the music.
Calypso evolved into a way of spreading news around Trinidad. Politicians, journalists and public figures often debated the content of each song, and many islanders considered these songs the most reliable news source. Calypsonians pushed the boundaries of free speech as their lyrics spread news of any topic relevant to island life, including speaking out against political corruption. Eventually British rule enforced censorship and police began to scan these songs for damaging content.
Even with this censorship, calypsos continued to push boundaries, with a variety of ways to slip songs past the scrutinizing eyes of the editor. Double entendre, or double-speak, was one way, as was the practice of denouncing countries such as Hitler's Germany and its annexation of Poland, while making pointed references toward the UK's policies on Trinidad. Sex, scandal, gossip, innuendo, politics, local news, bravado and insulting other calypsonians were the order of the day in classic calypso, just as it is today with classic hip hop. And just as the hip-hop of today, the music sparked shock and outrage in the moral sections of society.
Countless recordings were dumped at sea in the name of censorship, although in truth, rival U.S. companies did this in the spirit of underhanded competition, claiming that the rivals' material was unfit for U.S. consumption. Decca Records lost untold pressings in this manner, as did its rival, RCA's Bluebird label.
An entrepreneur named Eduardo Sa Gomes played a significant role in spreading calypso in its early days. Sa Gomes, a Portuguese immigrant who owned a local music and phonograph equipment shop in Port of Spain, promoted the genre and gave financial support to the local artists. In March 1934 he sent Roaring Lion and Attila the Hun to New York City to record; they became the first calypsonians to record abroad, bringing the genre out of the West Indies and into pop culture. Lord Invader was quick to follow, and staying in New York City after a protracted legal case involving the theft of his song "Rum and Coca-Cola", a hit by the Andrews Sisters, made his home there along with Wilmoth Houdini, and became one of the great calypsonians of the USA.
Early forms of calypso were also influenced by jazz such as Sans Humanitae. In this extempo (extemporaneous) melody calypsonians lyricise impromptu, commenting socially or insulting each other, "sans humanité" or "no mercy" (which is again a reference to French influence).
The first major stars of calypso started crossing over to new audiences worldwide in the late 1930s. Attila the Hun, Roaring Lion and Lord Invader were first, followed by Lord Kitchener, one of the longest-lasting calypso stars in history—he continued to release hit records until his death in 2000. 1944's "Rum and Coca-Cola" by the Andrews Sisters, a cover version of a Lord Invader song, became an American hit despite the song being a very critical commentary on the explosion of prostitution, inflation and other negative influences accompanying the American military bases in Trinidad at the time. Perhaps the most straight forward way to describe the focus of calypso is that it articulated itself as a form of protest against the authoritarian colonial culture which existed at the time.
Calypso, especially a toned-down, commercial variant, became a worldwide craze with the release of the "Banana Boat Song", or "Day-O", a traditional Jamaican folk song, whose best-known rendition was done by Harry Belafonte on his album Calypso (1956); Calypso was the first full-length record to sell more than a million copies. (Ironically, the music style on that album was mento.) The success of that album inspired hundreds of "Folkies", or the American folk music revival to imitate the "Belafonte style", but with a more folk-oriented flavor. The Kingston Trio would be a good example. 1956 also saw the massive international hit "Jean and Dinah" by Mighty Sparrow. This song too was a sly commentary as a "plan of action" for the calypsonian on the widespread prostitution and the prostitutes' desperation after the closing of the U.S. naval base on Trinidad at Chaguaramas.
In the Broadway-theatre musical Jamaica (1957), Harold Arlen and Yip Harburg cleverly parodied "commercial", Belafonte-style calypso. Several films jumped on the calypso craze in 1957 such as Island in the Sun (20th Century Fox) that featured Belafonte and the low-budget films Calypso Joe (Allied Artists), Calypso Heat Wave (Columbia Pictures), and Bop Girl Goes Calypso (United Artists). Robert Mitchum released an album, Calypso...Is Like So (1957), on Capitol records, capturing the sound, spirit, and subtleties of the genre. Dizzy Gillespie recorded a calypso album "Jambo Caribe" (1964) with James Moody and Kenny Barron.
Soul shouter Gary "US" Bonds released a calypso album Twist up Calypso (1962) on Legrand records, shortly after returning home from his military post in Port of Spain. Nithi Kanagaratnam from Sri Lanka sang Calypso styled songs in Tamil in 1968 which was a success and gave him the title as 'Father of Tamil Popular Music'.Since Baila rhythm was popular in Sri Lanka, most of his songs were classified as Tamil Baila. The French and pioneer electronic musician Jean Michel Jarre released an album in 1990 called Waiting for Cousteau. The album has 4 tracks: Calypso, Calypso part 2, Calypso part 3 Fin de Siècle and Waiting for Cousteau. It was a dedicated to Jacques-Yves Cousteau in his 80th birthday. This album had a special participation of the Amocco Renegades (a traditional steel drum band from Trinidad and Tobago). In the first track is possible to notice a strong style influence. Calypso had another short burst of commercial interest when Tim Burton's horror/comedy film Beetlejuice (1988) was released, and used Belafonte's "Jump In The Line" as the soundtrack´s headliner and also The Banana Boat Song in the dinner party scene.
Calypso (Kaiso) in the Caribbean
The Benna is a genre of Antiguan and Barbudan music. It is a calypso-like genre, characterized by scandalous gossip and a call-and-response format. It first appeared after the prohibition of slavery, and became a form of folk communication in the early 20th century, and it spread local news across the islands.
Mento is a style of Jamaican folk music that predates and has greatly influenced ska and reggae music. Mento is often confused with calypso, a musical form from Trinidad and Tobago. Although the two share many similarities, they are separate and distinct musical forms. During the mid-20th century, mento was conflated with calypso, and mento was frequently referred to as calypso, kalypso and mento calypso; mento singers frequently used calypso songs and techniques. As in Calypso, Mento uses topical lyrics with a humorous slant, commenting on poverty and other social issues. Sexual innuendos are also common.
Ska is a music genre that originated in Jamaica in the late 1950s, and was the precursor to rocksteady and reggae. Ska combined elements of Caribbean mento and calypso with American jazz and rhythm and blues. It is characterized by a walking bass line accented with rhythms on the upbeat.
Spouge is a style of Barbadian popular music created by Jackie Opel in the 1960s. It is primarily a fusion of Jamaican ska with Trinidadian calypso, but is also influenced by a wide variety of musics from the British Isles and United States, include sea shanties, hymns and spirituals. Spouge instrumentation originally consisted of cowbell, bass guitar, trap set and various other electronic and percussion instruments, later augmented by saxophone, trombone and trumpets.
The most influential figure in the development of Cadence-lypso was the Dominican group Exile One (based on the island of Guadeloupe) that cross-fertilized calypso music from the English speaking Caribbean and the cadence rampa of Haiti with influences of Dominican traditional music. While the genre shares many aspects of cadence-rampa; its lyrical content, horn section and up-tempo guitar beat, clearly derived from calypso.
Cadence-lypso has evolved under the influence of Dominican and Caribbean/Latin rhythms, as well as rock and roll, soul and funk music from the United States. By the end of the 1970s, Gordon Henderson defined Cadence-lypso as "a synthesis of Caribbean and African musical patterns fusing the traditional with the contemporary". It was pushed in the 1970s by groups from Dominica, and was the first style of Dominican music to find international acclaim.
Soul Calypso (Soca)
Soca has evolved in the last 20 years primarily by musicians from various Anglophone Caribbean countries including Trinidad, Saint Vincent and the Grenadines, Barbados, Grenada, Saint Lucia, Antigua and Barbuda, United States Virgin Islands, British Virgin Islands, The Bahamas, Dominica, Saint Kitts and Nevis, Jamaica, Belize and Panama. Soca developed in the late 1960s and grew in popularity in the early 1970s. Soca’s development as a musical genre included its fusion with calypso, cadence, Soul and Funk—as demonstrated in Lord Shorty's classic compositions "Sweet music" and "Shanti Om".
- Cadence-lypso, a cultural music of Dominica.
- Caribbean Carnival
- Carnival Road March
- Chutney music
- List of calypso musicians
- List of calypso-like genres
- List of Caribbean music genres
- Lord Kitchener
- Mento, a Jamaican folk music related to Calypso
- Lord Pretender
- Mighty Sparrow
- JFC (reggae band)
- Soca music
- The Duke of Iron
- West Indies cricket team: cricketers are often nicknamed the Calypso Kings
- Blatter, Alfred (2007). Revisiting music theory: a guide to the practice, p. 28. ISBN 0-415-97440-2.
- French creole influence on calypso music. YouTube. Retrieved March 6, 2014.
- Richard Allsopp, Dictionary of Caribbean English Usage (Oxford UP, 1996), p. 131.
- Mendes (1986), p. 30.
- Funk, Ray. "Roaring Lion (Raphael Arius Kairiyama De Leon AKA Hubert Raphael Charles, 15.6.08 – 11.7.99)".
- Consuming the Caribbean.
- Hill, Donald R. Calypso Calaloo: Early Carnival Music in Trinidad. (1993). ISBN 0-8130-1221-X. (cloth); ISBN 0-8130-1222-8 (pbk). University Press of Florida. 2nd Edition: Temple University Press (2006) ISBN 1-59213-463-7.
- Mendes, John (1986). Cote ce Cote la Trinidad and Tobago Dictionary. John Mendes, Arima, Trinidad.
- Quevedo, Raymond (Atilla the Hun). 1983. Atilla's Kaiso: a short history of Trinidad calypso. (1983). University of the West Indies, St. Augustine, Trinidad. (Includes the words to many old calypsos as well as musical scores for some of Atilla's calypsos.)
- Gittens, Sinclair (August 12, 2010). "The origin of calypso". Nation Newspaper. Retrieved January 2, 2011.