Parang in Paradise

Dara Healy writes a weekly column for the Newsday. 

The rain knew better than to make an appearance.

The moon, low and huge in size, exuded a serene power. When we arrived, a group from Arima was on the specially built stage; people gathered in the street watching them and dancing to their captivating music.

The occasion was a free community parang event in Santa Cruz. Groups from all over the country assembled in the place almost synonymous with parang. The Lara Brothers changed the pace, performing their traditional rhythms, slower than contemporary styles, but with a richness reflecting the era that inspired them.

It is said that the word parang comes from ‘paranda’ meaning merry making.

There is some debate about the origins of this music that defines Christmas in T&T. There is a theory about the missionaries bringing their music here and it interweaving with the music of the Spanish, Africans, First Peoples and others. The other locates the arrival of this music with the influx of Venezuelans during the War of Independence from Spain in the early 1800s.

Although it is more likely that the latter theory is correct, it must be remembered that the close physical location between Venezuela and TT would have meant constant travel and intermingling between the two countries, even before the war. This was a time of great economic exchange between the continent and Caribbean nations; the trade in enslaved persons brought tremendous wealth to entrepreneurs on both sides. We were also linked politically with Venezuela due to the curious arrangement where the British took over in 1797, but for quite some time afterwards Spanish laws remained. Incredibly, as Venezuelans such as Simón Bolivar battled for independence from Spain, research suggests that British colonial authorities quietly supported the efforts of the revolutionaries, partly because Britain and Spain were not on good terms. Francisco de Miranda was one revolutionary who used Trinidad as a base. Another, Santiago Marino, was born in Margarita, but grew up on the cotton plantation of his parents in Chacachacare.

Additionally, the blood of the First Peoples would still have been very strong in the ethnic composition of South American communities. All the great civilisations like the Mayas, Aztecs and Incas left substantial evidence of their dominance in areas spanning language, writing, agriculture, music, art, and architecture. My own research into the music and cultural forms on the southern continent reveal similarities in the use of instruments, style of music and dance from Chile to Bolivia and Peru. And yes, some of this music sounds like our parang, or should I say our parang sounds like their music. Their music was influenced by flutes or some type of string instrument, as with our parang. Undoubtedly, African culture here in TT would have contributed drum-like beats such as through the box bass.

There is an innocence and joyous nature about parang that makes it so attractive and appropriate for this time of year. It occurred to me as I sat at a recent Christmas concert, that we may be losing that innocent quality, that childlike wonder of the season. During the play featuring children aged 15 and younger, I saw on stage the simulation of liberal consumption of alcohol, adults talking about making love, possible infidelity, sexual overtones between what turned out to be a mother and son, and use of words like shit, bastard, jackass and even the ‘n’ word.

Worse, adults around me sat laughing at the double-meaning and colourful language. It was more like a bawdy comedy fest for adults, rather than an inspiring show for children and families.

It was disheartening, but witnessing the talent of the young people lifted my spirits somewhat. However, I thought about how many more adults were out there influencing the minds of young people, perpetuating warped values because they themselves were not aware of where to draw the line. Further, I thought how beneficial it would be if we could use the innocence and positivity of our parang music to enhance curricula and strengthen our nation.

The moon that night in Santa Cruz shed her light over us as we danced and sang in the cool country air. It was a magical moment, one that I wish could infuse the hearts and minds of our citizens always. In the spirit of the season, I believe it can happen. In the spirit of the season, I give thanks for the parang, another gift that little TT has given the world, and wish all a blessed Christmas.

EDITOR’S NOTE: Dara Healy is a performance artist and founder of the NGO, the Indigenous Creative Arts Network – ICAN.