A short history of pan in Church

By Lionel Owen

The early church used voice as the main source of music in the liturgy, though some wind (flute, trumpet, etc.) and stringed instruments (harp, lyre, lute etc.) were permitted. The invention of the harpsicord, a keyboard instrument that was essentially a harp played by keys, prompted the development of the organ, which, like the harpsicord, was a keyed instrument using vertically placed windpipes. The organ became the main instrument with the timpani being the only percussion instrument permitted.

Fast forward to the 19th century, and the guitar began evolving primarily in Spain. By the late 20th century, the guitar had become a significant instrument and was considered a ‘must-learn’ concert instrument after Andrés Segovia developed the art of playing classical music on it in the early 20th century.

At the same time, in a less well-known place and country, some slaves and later ex-slaves used bamboo cut to various lengths (known as tamboo bamboo) to create music as an alternative to the African drums, which were banned during slavery. The slave masters believed that the drums could be used to communicate and plan rebellions.  Although the African drums returned after slavery was abolished, former slave masters remained wary of the drumming, described in some quarters as calling the devil, and the British Government was quick to pass laws restricting its use.

During the first half of the 20th century, percussion in T&T evolved from African drums to tamboo bamboo, to metal (the birth of the ‘iron man’), and eventually to discarded oil drums, leading to the birth of the steelpan.

Despite restrictions on oil drums during the World Wars, by this time, the steelpan had evolved into a serious musical instrument rather than just a ‘ping pong’ novelty.

Between 1946 and 1950, many Trinbagonians wanted the steelpan in churches, but a survey revealed that about 65 per cent of the respondents were not in favour.  There were two main reasons for this: first, there were local conflicts, killings and violent rivalries among steelbands causing the steelpan to be associated with criminality; second, the Roman Church did not generally permit any instruments outside of the traditional ones.  Ironically, during the 1950s and 60s, the instrument gained international recognition and was used in churches in the USA and Canada.

In 1967, George ‘Sonny’ Goddard, a steelband leader and pioneer, wrote to Pope Paul VI requesting permission for steelband music in Roman Catholic churches in Trinidad.  The Pope returned the petition to the Diocese for further consideration.  When the final decision was made, it marked the end of stigma and discrimination towards the steelband movement and the beginning of the acceptance of the steelpan and its musicians as legitimate members of society and the Church.

In 1968, Maria Alonzo formed the Goretti Group and, through her husband, a member of Texaco Dixieland Steel Orchestra, began performing contemporary church hymns with steelpan accompaniment. They toured the country and eventually the world, with several renditions of known and originally composed music. Their efforts brought steelpan into the mainstream of Church music, both internationally and locally. In the 1970s, they performed at the Cathedral of the Immaculate Conception for a full Mass fittingly under the auspices of Archbishop Gordon Anthony Pantin, the first son-of-the-soil RC Archbishop of Trinidad and Tobago.

Although today some parishes have steelpans in their choirs, like so many other instruments, the cost of purchasing and maintaining the instrument has restricted its use and proliferation.

Lionel Owen is an advocate for local music and instruments in church.

World Steelpan Day is on August 11.