Winston Garcia BA, MBA
It is important to note that every society has three layers of citizens, the elite, the middle class and the folk. Folk are ordinary people who meet to work, play, sing, dance,pray and live harmoniously together sharing and developing powerful cultural systems to create and sustain meaning and happiness in their lives and communities. Roberts grew up among the folk. Arima the place of Robert’s birth and the town where he was formed, was a melting pot of powerful cultural expressions. There was the influence of the British, French and Spanish colonisers, the East Indian, Amerindians and of course the African. Those groups provided forced and indentured labour on the sugarcane plantations of Trinidad and Tobago, while sharing their own rich, unique music and cultural treasures. Ethnomusicologists and historians conclude that Robert’s greatest influence came from his African heritage. This was due to the striking similarities between West African work songs and calypso. Work songs were used by African slaves as a coping mechanism to survive the brutality of slavery and of course to chronicle life experiences through song and dance and costume. Arima was a true cultural wonderland, a dynamic musical laboratory that stimulated the creative imagination of her folk through song, dance and costume. Such was the rich musical womb that gave birth to a world class composer and performer, lovingly called The Lord Kitchener in Trinidad and Tobago.
Village life
Village life was fun filled with games, jokes, riddles and fun events. A rich community spirit where there were no fences and elders were respected and loved. The town was characterized by widespread musical and cultural experimentation in the early twentieth century in Trinidad and Tobago. The society was hungry to develop its national and cultural identity. In the absence of electronic media, people took it upon themselves to entertain each other through the powerful art of storytelling and singing. It was the practice of storytelling that most influenced the way Roberts a skilled guitarist, composed, sang and presented his compositions.
Storytelling
Storytelling was central to the everyday life of the folk in Arima illucidating laughter, preserving beautiful memories, building relationships and entertaining family and the community. Roberts had an acute speech impediment which did not allow him to speak fluently however he could sing fluently so he told his stories through his songs . An in-depth study of his discography will reveal that Robert was a master storyteller who covered all the critical ingredients necessary for successful storytelling in his compositions.
Robert’s songs always had:
- A. A compelling and interesting plot behind them hence the reason why so many of his songs are immortalized in our steel band and calypso music cultures.
- B. He showcased colorful characters that the average person can identify with
- C. His themes were used as infectious hook lines in his music that the made them singable and memorable
- D. The rhythmic nature of the language he used reflected the everyday dialogue of persons of all strata of society
- E. Storytelling involved dance, hand movement and facial expression these were clearly exhibited in his performances
Roberts was the consummate musical storyteller who captured the imagination of his audiences , instinctively utilizing all the components of authentic storytelling.
Calypso music culture
All music cultures are characterized by four interlocking components which give them life, vitality and meaning. We shall examine how his genius skillfully employed these four interlocking components to create timeless musical treasures.
Ideas about music
It is reasonable to conclude that Roberts had a keen understanding of how important calypso music was in the social landscape of Trinidad and Tobago. His constant and relentless commitment and involvement in the art-form demonstrated how seriously he valued his contribution. His aesthetic convictions lead him to work with the best musicians to produce music of the highest quality. He understood the critical role calypso music played in the development of culture and how it provided a joyful vehicle, expertly crafted for celebrating important social milestones and the preservation of wonderful memories for a society hungry for meaning and self expression. He was the consummate flag bearer for his art form, always dressed in his iconic three piece suit and fedora hat and wearing his warm expansive smile.
Social organization
The calypso music culture had its unique organizational structures which sometimes were controlled by persons or investors rather, who may have been in it purely for financial gain. It is in this regard that Roberts must be applauded. He took matters into his own hands and launched his own calypso tent the Review. He ensured that other calypsonians were fairly compensated for their work. Quite apart from his musical giftedness he was a competent manager and entrepreneur a rare combination for practitioners in the creative arts.
Repertoires
Careful analysis of the discography of Roberts will reveal that his large body of works covered a multitude of human experiences, a genuine chronicle of village life and language wrapped in beautiful melody that could be appreciated by persons of all walks of life. His music spoke passionately and vividly to men, women, children, relationships, cricket, politics, romance, steelband music, dreams, creatures, folklore, carnival, inter island rivalry, life in London. The list is extensive.
Events
No other calypsonian in post colonial times have impacted and dominated the road march race and panorama landscape like Roberts. All carnival related events in Trinidad and Tobago weather it be junior or senior panorama, brassorama, parties, fetes and mas must be thankful the musical genius of the Grandmaster as he is rightly and affectionately called, for the sterling contribution he has made in his homeland and indeed the Caribbean. On the world stage his compositions are arranged,enjoyed and played everywhere in steel band competitions and festivals in countries such as Japan, Sweden, Australia, Canada, The United States, Denmark, Finland, France, Germany, Israel, Mexico, the Netherlands, Norway, Poland, South Africa, Switzerland, Thailand, United Kingdom to name a few.
It is undeniable that Aldwyn Roberts has played an indispensable role in the development of the cultural fabric of Trinidad and Tobago, the Caribbean and indeed the calypso and steel band world. Life among the folk of Arima a community of storytellers raised one of Trinidad and Tobago’s finest sons. Indeed a village genius, National hero and global music ikon. By calypso all stories are told. Happy birthday sir. Rest in musical peace.
