Calypso final too tame for Big Yard

THE EDITOR: This year's Dimanche Gras calypsoes were generally mediocre, with some songs being forgettable. Only Maria Bhola, Tameika Darius, Ezekiel Yorke and Roderick Gordon had original calypsoes that were also thought-provoking.

Bhola satirised on the changing role of women in a reconstituted family. Darius censured the bigotry in not contextualising the acculturation effects of slavery. Yorke lamented human beings' lack of humanity. And Gordon mocked the idiocy of living in an era when living standards do not “maths/match" with fiscal expenditure.

Conversely, a slate of calypsonians superficially spewed out nation-building songs with limited creativity. But Dimanche Gras is not meant to be an Independence Day calypso contest.

Hence, we expect a Calypso Monarch final to be full of social and political commentary. We expect to witness double entendre, figurative language and parodying or picong. We crave for songs to be edgy even if offensive to some people, as our right to free expression is constitutionally guaranteed.

Instead, we were fed recycled language ad nauseum about celebrating heroes before they die and the progress we have made as a country. Although these notions are not anti-social, the examples and reference points are dated.

A counter-argument to my view is that two socially significant songs focused on life after covid19 and Terri Lyons valiantly condemned violence to women. Although these songs may be viewed as relevant, they were not new. There is nothing innovative about Chucky's New Normal. This has been stated almost daily for two years by government officials and healthcare professionals.

Meanwhile, Karen Asche should realise that being in an oasis like the one that Moses encountered after banishment is highly clichéd. It is even counter-intuitive and trivial to parallel life after the covid19 lockdown to Moses and his Jewish people finding an oasis.

And in the case of Terri Lyons's song about confronting violence to women, it is regrettably disingenuous to confront a problem and offer no solutions. While calypso does incorporate storytelling and call and answer, Lyons reverted to raw rhetoric and ostensible stage aggression.

Most interestingly, calypsonians like Helon Francis and Duane O'Connor gained praise from some commentators for their peaceful and uplifting lyrics. They reflected on how TT has developed as a country since independence. But such peaceful, pro-nationalist, evangelical doctrines are best suited to a primary school social studies class or morning worship. Unless I am mistaken, calypso was not meant to be indoctrinating.

In the context that the Government funds the prize money for the Dimanche Gras, we the citizens must demand better content and songs of protest from our calypsonians. We must recognise that controversial songs evoke discourse and national debate. These are the real nation-building songs.

CHANDRADATH MADHO

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