Celebration of Women and the Steelpan Art Form

Tribute To Women In Pan


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Meet Natasha Rebeiro - Brooklyn, New York

“As a woman in pan I’ve always felt as though I had to prove that I could play just as well as the men around me. Especially when I started to move on to different sections such as the quadrophonic. There are not too many females that dominate those pans. I was very happy to see the Female Quadro section in Redemption Sound Setters as well as the girl playing the “Rocket pan” in Desperadoes....”

She lives, dreams and feels PAN. In an exclusive interview with When Steel Talks - standout panist and performing artist Natasha Rebeiro shares her reflections, experiences, views and dreams on Pan, and the steelpan art form overall.

A When Steel Talks Exclusive

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WST - “Tell us about Natasha Rebeiro?”

Natasha R. - “I am half-Trini, half-Guyanese, but I grew up with full knowledge of my Trini side thanks to my grandparents.”


WST - “When and how did you first become aware of the steelpan instrument?”

Natasha R. “From birth I was in ADLIB’s panyard, my grandfather played four pan for ADLIB for years and my grandmother and Aunty Jean are “best friends.” I began in the rhythm section playing tambourine since I was too young to start playing pan. But all of my influence comes from my grandparents and Frank and Jean Mayers who are like my extended grandparents. In 1996 I started playing tenor for ADLIB’s stage side and panorama side, although my grandmother wanted me to play bass, Fitz Worrell or Mr. Bass as we called him said no she is a frontline player. I totally agreed with him and still do, LOL.”


WST - “What keeps your passion for the instrument and music going?”

Natasha R. - “My passion for the instrument comes from a few different places. My instant love is one, and my need to keep it going just in my family, is a big deal for me.”


WST - “What does your family think about your involvement in Pan?”

Natasha R. - “No other grands [grandchildren] have embraced Trini culture the way I have including my sisters, who have grown in the yard with me. My Trini side was and is still - in love with the fact that pan is “my life;” my Guyanese side always felt as though it was a distraction and really didn’t understand why I spent every single moment in the yard.”


WST - “As a Woman in Pan, have you ever experienced any challenges regarding you being a steelpan musician?”

Natasha R. - “As a woman in pan I’ve always felt as though I had to prove that I could play just as well as the men around me. Especially when I started to move on to different sections such as the quadrophonic. There are not too many females that dominate those pans. I was very happy to see the Female Quadro section in Redemption Sound Setters as well as the girl [Cherylee Goddard-Legair] playing the “Rocket pan” in Desperadoes.”

Natasha Rebeiro on four pan in Brooklyn Steel Orchestra (BSO)
Natasha Rebeiro on four pan in Brooklyn Steel Orchestra (BSO)

WST - “What is the greatest challenge facing this current generation of steelpan musicians in Pan?”

Natasha R. - “I believe the greatest challenge facing this generation of steel pan is the lack of unity and a lack of funding. So many of these steel bands especially in New York have such rich history and it’s a shame that we are practically homeless every year after Panorama.”


WST - “Describe your most memorable steelpan musical experience?  And what have you been most proud about relative to Pan?”

Natasha R. - “My most memorable experience would have to also be my proudest moment in pan. The journey to the International Panorama (ICP) and our placing in the competition were just so surreal to me. It was proof to me that no matter what band you come from, when working towards a common goal we are all one. There was just and still is so much love involved in BSO (Brooklyn Steel Orchestra), and half of these people probably didn’t speak to each other before the ICP. It showed me that unity among the steel bands in Brooklyn is definitely possible. We can achieve so much more as a whole. I’ve never felt a greater sense of accomplishment before, especially to see the beginning of a great partnership between Kendall, Marc and Odie.”


WST - “What disappoints you most in the steelpan movement?”

Natasha R. - “What disappoints me the most would have to be the lack of stability in the bands. We’ve all worked so hard over the years, put in so much time and energy to keep these bands going. I just wish that the youths coming up now in the bands have the same love that I had coming up and understand the worth of the steel pan and can see the reason to keep it going.”


WST - “If you had the power to change something in Pan immediately, what would that be?”

Natasha R. - “If I had the power to change anything it would be the way pan is viewed In New York City. Maybe if the image is changed things like sponsorship for bands or even government funding for the bands would be possible. I feel as though we do a service in New York City - the same as any after-school program or cultural program.”


WST - “How was your experience at the International Panorama?”

Natasha R. - “My experience at the ICP was incredible. To be in the mecca representing Brooklyn and the talent it has to offer was amazing. It made performing at our annual Panorama a little disappointing for me though.”


WST - “Compare that experience, with performing in the annual New York Panorama?”

Natasha Rebeiro
Natasha Rebeiro

Natasha R. - “The atmosphere felt so different “The Drag” itself is an experience. To see the love for pan and then to come back to New York and see how scanty the crowd was in the museum and on the “Drag” was heart-breaking.”


WST - “And what is Panorama to you?  And is it a curse or blessing from your perspective?”

Natasha R. - “Panorama to me is just a showcase of an arranger’s ideas and creativity. To say whether it is a curse or blessing is a tough one to answer; I always have mixed feelings about it. It is a blessing because it is a way for bands to make some money to keep going the following year. It is somewhat of a curse because it has a way of killing the drive in bands. The placing and judging of the bands affects morale amongst the players, who are the hearts of the bands.”


WST - “If you had the choice/opportunity, to have a career as a full-time musician and related activities, in the steelband art form, would you?”

Natasha R. - “If I could make pan my career full time I would be so happy with my life. I think that this should be the ultimate goal for everybody who is involved with steel pan. I would love to turn this into a business that I could pass down to my children. It should always be a goal to do something you love and be able to make a living off of it. Instead of doing something you don’t particularly like, just to get paid or make a living.”


WST - “What type of music do you listen to outside of Pan?”

Natasha R. - “My choice of music outside of pan is a weird mix. I love oldies from calypso to reggae, But my favorite type of music is soul from the 1950s-60s. The Temptations. Otis Redding, Sam Cooke, The Four Tops, and Jimmy Ruffin just to name a few. Odie often makes fun of me saying that one day I will go to bed and wake up in the 50s.”

Natasha Rebeiro on triple seconds in Despers USA Steel Orchestra
Natasha Rebeiro on triple seconds in Despers USA Steel Orchestra

WST - “What is your vision for the steelpan instrument?”

Natasha R. - “There’s just something about the culture that I am obsessed with, from the music to the lifestyle. My vision for Steel pan especially in New York is to be acknowledged as a great thing for the communities as well as the youth coming up. I would like the image to change and hopefully that would help keeps bands in yards and maybe get us some type of sponsorship.”


WST - “Are there any other steelband-related matters you would like to touch on?”

Natasha R. - “I would love to see steel pan musicians and arrangers such as Clive Bradley being taught and talked about in schools as a part of New York’s history.”





Their Story, Their Voice, Their Life, Their Dreams - click for more stories

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