WST - “How were you first introduced to the steelpan?”
Shanelle C. - “I was first introduced to the steel pan at age 8, with CASYM (Caribbean American Sports & Cultural Youth Movement, Inc.) Steel Orchestra. At the time, I still lived in Brooklyn and my father took me to check it out. I was a member of the beginner’s band, and never experienced a panorama with CASYM, but I surely longed for the day. I did not stay with them for too long though, I moved to Long Island at age 11. I missed playing my Pan and didn’t think there were any bands on the island. It wasn’t until I was 13 or 14 that my aunt and uncle introduced me to ADLIB Steel Orchestra (they were holding out on vital information all this time, ha-ha), and the rest is history!
“The first Pan I learned to play was the guitar, and later moved to the tenor, where I remained until 2005. In 2005 and 2006, I had a short panorama stint on the quadraphonics, but it was quite a lonely section back then. I begged Sade Constantine to come and play that pan with me, but I could not pry her away from those double seconds; a beauty in which I discovered a year later, and haven’t turned back since.”
WST - “You are a proud member, have also been junior captain, and are now on the Board of Directors - of the award-winning championship band ADLIB Steel Orchestra - talk about these experiences through the years?”
Shanelle C. - “I was given the position as co-junior captain in 2001 at the tender age of 15, and it lasted until 2012, when I chose to step down. Having joined the band only one year prior, Aunty Jean and Uncle Frank saw something in me that made them feel that this was the right time and right position for me, and I thank them for that. In the early years, it was difficult for me to balance the leadership responsibilities while still being a friend to the members. Many members were part of the band way before I joined, and here I come, the newbie, with this big position, trying to run practice sessions and ‘dictate’ what should be going on. Not to mention, that was so far from my passive personality, I never wanted to offend anyone or step on anyone’s toes. To be honest, I did not fully understand what really came with the territory until a few years later, but it was all a great learning experience.
“As I matured, it became easier to manage the dynamics of the band, the members, the gigs, the interviews, the practices, and such. There were, of course, the stressful moments, as panorama drew nearer. Tensions grew high as we were looking for a certain commitment from members, for a certain perfection from the band, and wanting everyone to have the same passion for playing the instrument and just the overall thrill of competing on the ‘Big Stage’ in Brooklyn. And trust me, advancing to the number 1 spot from the number 10 spot in the panorama placings (a big thanks to André White) was no easy feat, but we’re here to stay.
“I made the decision to step down after 11 years because I felt that it was time for someone else to gain that experience and to continue to help lead the band in an upward direction. Some days I miss being the junior captain, but I have no regrets. I now sit on the Board of Directors as the Secretary. It is quite a different role from before, it is not as hands-on, but I appreciate the opportunity to be in a position where I can still contribute to decisions for the betterment of the band.”
Shanelle County
WST - “Being female, were you cautioned or perhaps dissuaded in any way, from becoming involved in the steelband art form?”
Shanelle C. - “By no means. As I mentioned before, my father introduced me to Pan at a young age, and there was nothing anyone could do to stop me from playing. I have not actually heard of any incidences where gender has been an issue in this day and age. I know in the early days of Pan, however, it was quite a different story, but I eh so old, lol.”
WST - “Do any of your family members play Pan?”
Shanelle C. - “Yes, my brother Akil and my cousin Anton, who both play the tenor pan.”
WST - “What keeps your passion for Pan going?”
Shanelle C. - “There is an inexplicable joy that I get from playing this instrument. Something quite different from when I used to play the trombone in junior high and high school. Despite its introduction in the 20th century, it is still quite ‘new’ to many people and I feel like I have some sort of head start, lol. I really and truly think that my passion for playing this instrument stems from my deeply rooted passion for my Trinidadian history and culture, from the mas to the soca and calypso, to the national instrument. I love every aspect of it.”
WST -“What have you been most proud about as it relates to Pan?”
Shanelle C. - “Hmm, this is a tough question. I can give so many answers. I think I am most proud of how far the audience for this instrument has reached. To see bands in Asia and Africa, and in University music programs across the country is very rewarding.”
WST - “What about the Pan fraternity do you find most disappointing?”
Shanelle C. - “The Pan fraternity in New York? Or in general?
“In New York, what I find most disappointing is the poor production for the majority, if not all of the Pan events produced. First of all, outside of panorama, there are hardly any events put on to showcase the instrument and the talented players. Second of all, the quality and professionalism of such events, including panorama, I am sad to say, are quite poor. Promoters give no incentives for bands to continually invest the money and time to take part in sub-par functions. I think we can and should do better. On that same note, however, I think it is time for our generation to stop saying what we want, and step up to the plate and take action...TOGETHER.
“In general, for me, translates to Trinidad, as that is the Mecca of the instrument. What I find most disappointing in the Trini Pan fraternity is the lack of effort from the governing body to share (for lack of a better word) the instrument. I know I mentioned before that I am happy to see that Pan is quite in Asia, but there is so much more that can and should be done to ensure its sustainability and advancement.”
WST - “Do you think the steelband community and its musicians are regarded/respected in New York?”
Shanelle C. - “Oo, I definitely know that the steel band community and its musicians are regarded and respected by the thousands of spectators who squeeze behind the museum to see the performances year after year. Even as the quality of production has dropped over the years, I think it is safe to say that New York Panorama is the most highly anticipated Pan event outside of Trinidad.
“Now, if you asked me if we as the NY fraternity respect ourselves? Not as we should. As the saying goes, too many Chiefs and not enough Indians. Everyone has the best idea, but no one wants to put in the work, and then we want to talk about this one not doing this, that one full of that, etc. And if we cannot respect ourselves and show a unified body, who can we expect to regard us as a significant community?”
WST - “What is Panorama to you?”
Shanelle C.
- “Panorama
to me is that 10-minute (which really feels like 2 minutes) culmination
of endless hours in the pan yard, perfecting one tune to showcase to an
audience, and more importantly the judges, on a Saturday night. A
performance that, even after 13 years as a participant, still creates a
nervousness right before my band rolls onto the stage behind the museum.
It is an event that creates an excitement among Pan players while
everyone waits to hear what the next band coming with, and a time to
just leggo on that stage and leave a lasting impression for all. Anyone
who knows me, knows that I LOVE to play mas and I LOVE soca, and for me,
Panorama is the parade of the bands for the steel pan. You know when
yuh in yuh costume and yuh REACH on dat Savannah stage and de soca
pumping? Nobody could tell me nuttin’! Well, that is exactly what
Panorama is to me, except that my costume is my pan, and the music is an
enticing arrangement to keep you moving.
WST - “What is your vision for Pan in New York a decade from now?”
Shanelle C. - “My vision for Pan in New York 10 years from now, is not only to host spectacular, top-quality productions of the Panorama competition, ones that can be compared to concerts put on at Madison Square Garden and Barclays Center, but to also see more versatility in the events that showcase the instrument. I want to see an expanded audience of spectators and pan players, with incentives for those who are now beginners to carry-on the legacy of this beautiful instrument. It will also be great to see a matured steel pan community, where we can sustain ourselves all-year round, and work together for a common goal.”
WST - “If you could change one thing about Pan what would that be?”
Shanelle C. - “I would make every tenor a Low C tenor, ha-ha-ha. It is just THAT much better than a High C, yet everyone always running to play the High C - lol. Other than that, as I’ve mentioned before, it would be to have more opportunities for the instrument to be showcased throughout the year.....without the competition. And you know what has dawned on me lately, good pan tuners are becoming a scarce commodity. I think it is time for some youngsters to take up this very necessary and lucrative skill.”
WST - “You may have come across colleagues who did not understand what you mean when you say you ‘play pan’ - if this has ever been the case, talk about how you shared your steel band experiences, and their reactions.”
Shanelle C. - “This happens far too often, especially at work. I usually have to explain the instrument as the steel drum, the Caribbean instrument that you play with sticks. It is quite entertaining to see that they have such a better understanding when you explain it in that manner, as opposed to the steel pan made from old oil drums, which originated in Trinidad; they usually have no clue. Plus, they think I can only play Calypso, which of course comes from Jamaica right? Ha-ha. To solve any misunderstandings, I usually show my co-workers YouTube videos of the band and they get so excited, insisting that I tote my pan, plus the entire stage side to the perform at the next Holiday Party.”
WST - “What advice would give to young and upcoming females who would like to follow in your footsteps as a female steelpan musician?”
Shanelle C. - “The sky’s the limit. I think this is a wonderful instrument to play, and a challenging instrument to master, but it can be done. If this is something that you enjoy, stick with it, do not be deterred. I am a firm believer in always looking for ways to improve. Whether it is improvement in your playing abilities, in the band that you’re a member of, innovations in the instruments, or even as a tuner, do it.”
WST - “After playing Pan for some time, several young adults eventually cease playing. Do you have any plans in this regard?”
Shanelle C. - “As I’ve gotten older my commitment to playing Pan has definitely changed, but I do not have plans to retire any time soon.”
WST - “Are there any other steelband-related matters you would like to bring forward?”
Shanelle C. - “No, not at this time. But I would like to thank When Steel Talks for the opportunity, and to keep up the amazing work.”
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