It is a living vibration
Rooted deep within my Caribbean belly
Lyrics to make a politician cringe
Or turn a woman’s body into jelly
It is a sweet soca music, calypso
You coulda never refuse it, calypso
It make you shake like a shango now, calypso
Why it is you shaking, you don’t know, calypso
Calypso, calypso, oh calypso music1
The Origin of Calypso Music
Calypso rhythms, as an identifiable music genre in Trinidad and Tobago, can be traced to the arrival of the first African slaves, brought to work on the sugar plantations at the end of the 19th century. Forcibly displaced from their homeland in West Africa, and robbed of all links to family and home, the African slaves began to sing rebellious or protest songs. These early protest songs would develop into what is termed the modern day calypso, or ‘kaiso’ (a Trinidadian slang to describe the genre). African slaves became adept at disguising the lyrics, using calypso not only as a means of communication, but also as a tool to mock and make fun of the slave masters. Many of these early calypsos, led by colorful individuals called griots, were sung in a French-Creole dialect called patois (a reflection of the multi-colonial heritage of the island of Trinidad and Tobago, colonized by Spain, France, and Britain), often accompanied by the traditional African drums and chorus.
Calypso music in the 21st century
Although more complex in its lyrical style and content, contemporary calypsos have retained some of the trappings (notably so), of its original form. Most calypsos are now sung in English (some dialect is retained for emphasis, and used in catchy phrases). The African drums have now been replaced by the brass band, an ensemble so called because of its powerful trumpets and trombones, guitars, keyboards, synthesizers, drums and wide range of percussion instruments. Additionally, some singers might include the steel pan or steel drum, an acoustic instrument invented in Trinidad and Tobago in the 20th century.
The griot has been transformed into the contemporary calypsonian, each performer exhibiting highly personalized styles in dress, theme and presentation. Calypsonians are often accompanied by a somewhat exuberant chorus line, executing extravagant choreographed movements as they follow his or her lead. Calypsonians are also renowned for their creativity in crafting imaginative pseudonyms (stage names or sobriquets in Trinispeak): Atilla the Hun, Black Stalin, Chalkdust, Cro Cro, Delamo, Growling Tiger, Gypsy, Lord Invader, Lord Executor, Lord Pretender, Lord Kitchener, Luta, Mighty Shadow, Mighty Sparrow, Pretender, Roaring Lion, Short Pants, Superblue, Sugar Aloes, Valentino and Watchman. Other calypsonians, relatively new in the calypso arena, and referred to as the ‘new breed of calypsonians’, have been regarded as very unimaginative in retaining their birth names: Anselm Douglas, David Rudder, Iwer George, Kurt Allen, Machel Montano.2
Not to be outdone, female calypsonians have also been very artful in creating stage names, often in an attempt to assert their authority and challenge their counterparts in what is considered a male dominated genre: 
Calypso Rose (heralded as the undisputed ‘Queen of Calypso’), Lady B, Lady Wonder, Singing Francine, Singing Sandra, Tigress. And of course, there are those who choose to retain their christian names: Ella Andall, Denise Plummer, Denise Belfon, Faye Ann Lyons, Sanelle Dempster.
In the weeks preceding the annual carnival celebrations, calypsonians, both male and female, perform nightly in calypso tents. These performances are very expressive, often accompanied by elaborate props and are considered essential as a revenue earner, as well as an opportunity to promote new songs and compete for the Calypso Monarch (most popular calypsonian) and Road March title (most popular calypso played during carnival). The original bamboo structures, which characterized traditional calypso tents built in the 1930s and 1940s, have been replaced by more grandiose structures, with names aptly reflecting their physical eminence, and perhaps, the stature of the performers they accommodate: Calypso Revue, Calypso Spektakula, Kaiso House, Kaiso Showkase, The Lion’s Den.
Next page: "No More Yankees in Trinidad"
