Extempo Calypso
Wit, ingenuity and the ability to think quickly define extempo calypso.
In this art form, performers compose lyrics extemporaneously, hence the name extmpo, on a given theme or suggestions shouted from the audience. In competitions, there is no rehearsal, no time to prepare. The themes are handed out on the spot. The performer must improvise and the worst shame is to "bust'' or run out of lyrics and rhyme.
The themes are usually drawn from current events and performers respond in rhyme, using satire, ridicule and sarcasm or praise and flattery. Often, they attack one another in a war of words, boasting of their own attributes while mocking their opponents. But no hard feelings. It is all in jest.
Extempo is characterised by either "single tone'' consisting of four-line stanzas or the "double-tone'' of eight lines. There are four basic melodies common to extempo, from well-known calypsoes-"Santimanitay,'' "Matilda,'' "Miss Mary Ann'' and "Big Bamboo''. This form of calypso is believed to have its roots in traditional African song which relies on improvisation and consists of a recitative or chants with a short chorus.
Notable extempo performers include Gypsy, Black Sage, Relator and Big B.
Listen To The Picong, the Roots Of Calypso.
One characteristic of calypso is the unique sense of humour shared by the people of Trinidad and Tobago and even the most serious political and social commentaries are sweetened by a dash of wit. Many of the songs involve a play on words and saucy double entendre. Public figures are mocked and anyone can be a target, from prime minister to fellow calypsonian. This type of taunting is called "picong'', which is a local patois (broken French) term for "friendly teasing", but it is really a form of verbal warfare.
Calypso is rooted in the old tradition of chantwells. A key part of early Carnival street processions, the chantwell would invigorate the parade's participants with song. As the festival grew in 19th century, masquerade bands preparing for Carnival used tents constructed of bamboo supports and palm leaves to create and practice their portrayals. It is in these makeshift tents, thrown up in the slum yards of Port of Spain (capital of Trinidad and Tobago); the chantwell composed songs and practiced, with band members providing the chorus. On Carnival days he led the band into the streets with prepared choruses, but also improvised songs of praise, criticism and challenge. The chantwell was often a formidable figure, prepared to battle with rivals and take the lead in confrontations with competiting bands. If one chantwell met another, look out! Insults, boasts, and loud musings would ensue.
At the turn of the century, activities in the tents became a public affair as audiences gathered at rehearsals and people moved from tent to tent to hear the music and songs. Shortly thereafter, an enterprising businessman replaced the palm and bamboo with railway tarpaulin, erected a stage, rented chairs, placed gas lamps around the room and began to charge admission. Although the chantwell moved from the streets to perform on stage before a seated audience in 1910, the picong continued and the emergent calypso tents of the 30s commonly featured "picong wars" between individual singers or opposing groups. The chantwell evolved into the calypsonian, but the traditions of verbal wit to entertain, mock and impress audiences remain a hallmark of their prowess as performers.
Today, picong is no longer a thriving art form, but if you ever get to a calypso tent and have the fortune to hear a traded barb or a spontaneous joke delivered in song, know that its echo had its place in the verbal prowess of the chantwell.
Sampling Picong
Two of Trinidad's famous calypsonians, the Mighty Sparrow and the late Lord Melody, have recorded some of their favourite picong barbs. It was Melody who initiated the verbal wars. In a masterful example of the genre, local entertainment journalist, Dave Cuffy, recalls that Sparrow had been defending himself against various scurrilous rumours saying he was a hotheaded gunslinger, so Melody went on record with the tune, "Cowboy Sparrow, Son of a Catarrh-Nosed Grenadian," which contained lyrics suggesting that Sparrow was a crazy man. With an irresistible rhythm, a beautiful horn section and chorus singers repeatedly intoning "Beware! Sparrow has a gun!" Melody laid on the invective. Sparrow formulated is own response. His Cowboy Melo ("Shame on you, Mel!") and "Madame Dracula (Wife of Melo)", are smooth, danceable vignettes, which are as complimentary about Melo's missus (Lady Melody) as the title suggests.
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